Tag: online video

  • MPA Report: APAC video market to hit $165B by 2029;  streaming set to dominate

    MPA Report: APAC video market to hit $165B by 2029; streaming set to dominate

    MUMBAI: To use a cricket analogy, television is going to go  even  more on the backfoot while online video shall come charging down the pitch to hit revenues out of the park. 

    That’s the latest prediction of Singapore-based  Media Partners’ Asia (MPA) in its  2025 report, outlining transformative trends in the Asia-Pacific (APAC) video and broadband industry.

    Among its key findings and predictions are:

    Industry growth & transition
    * Market Expansion: APAC video revenue is projected to grow by $16.2 billion, reaching over $165 billion by 2029 (CAGR: 2.2 per cent).
    * Online video explodes: Online video revenues projected to climb from $64 billion in 2024 to $89 billion by 2029, marking a 40 per cent increase. Gap with the US (at $140 billion in 2029) will have narrowed. 
    * Traditional TV contracts:  In contrast, traditional TV revenues are expected to shrink by $8 billion during the same period.
    * Streaming overtakes TV: Streaming revenues will surpass traditional TV by 2027, with their industry share rising from 44 per cent in 2024 to 54 per cent  by 2029, led by India and China.
    * Subscription video on demand (SVOD) services are expected to grow their share of the Asia-Pacific (APAC) video industry’s revenue from 44 per cent in 2024 to over 54 per cent by 2029.

    Revenue drivers & contributions
    * Key markets: India, China, and Japan will drive 64  per cent of the growth, with India alone accounting for 26 per cent.
    * Content growth: User-generated content (UGC) and social video platforms will lead, contributing $10.7 billion in new revenue. SVOD ($8.4 billion) and premium AVOD ($5.0 billion) follow closely.
    * Advertising leadership: Advertising will account for 65 per cent  of online video revenue growth, increasing its share of total video revenue from 52 per cent in 2024 to 54 per cent by 2029. Premium ad-supported video on  demand platforms driving growth.

    Shifting dynamics
    * SVOD boom: Subscriptions are set to rise from 644 million in 2024 to 870 million by 2029, driven by sports, Asian entertainment, and US content.
    * Connected TV surge: Penetration will exceed 85 per cent  in developed markets like Australia, Korea, and Japan by 2029, with notable growth in India, Indonesia, and Thailand.
    * Local players gaining ground: Global giants like YouTube, Netflix, and TikTok, which held 67 per cent market share in 2024, will see this decline to 62 per cent by 2029 as regional platforms strengthen.

    Vivek Couto, Executive Director at MPA, stated, “The APAC video market is undergoing rapid transformation, with streaming driving deeper engagement and improved monetisation. However, the decline of traditional TV and challenges in local streaming profitability are pushing the industry toward consolidation, particularly in markets like India, Japan, and Southeast Asia

  • Sports media rights investments in India to grow by 10.1% over 2021-26: MPA report

    Sports media rights investments in India to grow by 10.1% over 2021-26: MPA report

    Mumbai: Sports media rights investments in India will grow at 10.1 per cent CAGR (compound annual growth rate) over 2021-26, bolstered by demand for cricket properties, led by the Indian Premier League (IPL), according to a report by Media Partners Asia (MPA) released on Friday.

    The report, which tracks the growth of sports rights and TV and online video sports revenues and subscribers across 14 markets in Asia Pacific (APAC), found that the market for sports rights and sports media revenues across APAC have recovered in 2021 after the damaging impact of the Covid-19 pandemic in 2020 and is expected to grow at a sustainable rate over 2021-2026.

    Overview

    As per MPA, sports rights for APAC contracted by $1.2 billion in 2020 while sports media revenues fell by ~$0.9 billion in the same year. The rights values crashed in China in 2020 while revenue contraction was marked in Australia and Japan. The year 2021 saw significant recovery in rights values and revenue, which MPA expects will continue in 2022, ensuring that rights values return to pre-pandemic levels, surpassing the absolute value of rights registered in 2018.

    Sports media revenues

    Asia Pacific sports revenues in TV and online video will grow at a combined six per cent CAGR between 2021 to 2026. Sports revenues will grow from $6.7 billion in 2021 to $8.9 billion by 2026.

    Sports media revenues contracted by 15 per cent i.e., $0.9 billion in 2020, during the pandemic, and recovered by more than 30 per cent in 2021. They are projected to grow by 11 per cent in 2022.

    In 2021, sports media revenue growth was especially significant in Australia, China, India, Japan, Korea and Southeast Asia, led by Indonesia and Thailand.

    Australia, China, India and Japan will contribute more than 82 per cent to sports media revenues in 2022 that will increase to 83 per cent by 2026, stated the report.

    The contribution of online video in overall sports media revenues will increase from 28 per cent in 2021 to 33 per cent in 2022 further growing to 42 per cent by 2026. The major market drivers of sports media revenues via online video are Australia and New Zealand, China, India, Indonesia, Singapore and Taiwan.

    TV will remain critical in India, Japan, Korea and Malaysia but its overall share of APAC sports revenues will fall from 72 per cent in 2021 to 58 per cent in 2026.

    Sports rights

    By 2022, sports rights across APAC markets will grow by 5.6 per cent to reach $6.5 billion. It will further grow at a CAGR of four per cent to reach $7.4 billion by 2026.

    Australia, China, India and Japan dominate when it comes to sports rights investment with 77 per cent share of total sports investments in 2022 that will grow to 79 per cent share of investments by 2026.

    Football leads the sports rights market in APAC with the Premier League topping the list of individual properties. Rights for the 2022-2025 Premier League have fallen by ~25 per cent to $1.4 billion because of substantial deterioration of the sports media rights in China. Excluding China, Premier League rights values for APAC grew by 10 per cent to $1.2 billion driven by healthy increases in Australia and New Zealand, Indonesia, Japan, Korea and Thailand.

    The main driver for recovery in sports media revenues and sports rights across APAC will be consumer and advertiser demand for live sports across integrated streaming entertainment and sports platforms along with TV networks in key geographies, stated the report.

    “Sports remains vital in Asia Pacific as a tactical weapon to build brand and market share and in certain instances, pricing power,” said MPA executive director Vivek Couto. “However premium tier-1 rights generally remain loss leaders or break even bets, especially in the case of marquee football and cricket properties. TV platforms remain important for the value of sports rights and monetisation but the growth of online video as well as tighter consumer and advertising wallets have squeezed growth in key Asia Pacific markets with many players impacted by cord cutting as customers continue to churn to: (1) Integrated entertainment and sports streaming platforms; (2) Pure play sports streaming platforms; and (3) Piracy. TV reach and revenues will however grow at a robust rate in large scale markets such as India, which emerged as the second-largest TV sports market through the pandemic, after Japan.”

    Adding further, he said, “Meanwhile, the rapid growth of online video distribution has boosted sports rights and revenues through SVOD and ‘freemium’ windows, especially in markets such as Australia, India, Indonesia and Korea. The economics of pure play sports streaming remains challenging; integrated entertainment and sports platforms remain on a stronger path while TV and streaming bundles will continue to play an important part in unlocking the value of sports.”

  • Prime Video’s Gaurav Gandhi, Disney+ Hotstar’s Sunil Rayan on growing SVOD in India

    Prime Video’s Gaurav Gandhi, Disney+ Hotstar’s Sunil Rayan on growing SVOD in India

    Mumbai: After the windfall of 2020, the streaming industry saw consumers’ on-demand content consumption patterns getting more and more well-entrenched and diversified in 2021. As exaggerated trends rationalised, players in the OTT world emerged out of the unarguably positive conundrum with a lot more clarity on charting their individual growth stories and also that of the industry as a whole.

    At the Apos Indian Summit – a two-day virtual event which concluded on 24 November – Disney+ Hotstar president Sunil Rayan and Amazon Prime Video country head Gaurav Gandhi talked about having learned the “balancing act” through the session titled – ‘The Next Stage of Growth for Online Video’.

    Drivers for Adoption

    In addition to widely discussed factors such as affordability of internet services, smartphones, and smart TVs and the availability of content, Rayan and Gandhi had their own unique insights on the growth drivers for streaming services. 

    According to Rayan the surge in volume and diversity of content through the years has brought about the mainstreaming of online video in different stages. “While the early stages were mostly about penetrating the market, the second wave of creating localised content that we are currently riding has propelled the trend further. Going into the third stage of deep localisation where user experience will become highly personalised, we will witness another leap in adoption,” he averred. 

    Like Rayan, Gandhi too believes that the encouraging pace at which Indians took to on-demand services was also a result of a new wave of content coming in. “The content distribution structure in India has always been such that it didn’t allow scope for any kind of premium cable or premium pay. As a result, we never really had access to high cinematic quality content. In the last three or four years streaming platforms have brought world-class content including original long-format series that Indian viewers had not seen before. And this includes both global content and local, home-grown stories,” he said.

    Commenting further, he added that a significant factor in the five-year-growth story of video streaming in India has been its “rich and robust content ecosystem with content industries in over ten languages. That makes it a prolific entertainment market.”

    The emergence of films as a popular segment on streaming platforms, accentuated by the direct-to-digital wave of 2020, further quickened the pace of adoption. “India has a large audience base that loves movies, but the country is very under-screened. Video streaming not only solved the problem of limited access to new movies in the very early window but also enhanced their reach and accessibility. Indian films are today being watched in over 4500 cities and towns and 180-190 countries worldwide on various streaming services. It has also encouraged talent, fetching its appeal across borders,” stated Gandhi.

    Both Rayan and Gandhi recognised the role of advancements in digital payment infrastructure in transforming a largely ad-supported industry into subscription-driven. Rayan shared that a “significant portion of payments for Disney+ Hotstar comes through UPI.”

    Developments such as these and others like rapid growth in smart TV sales, give Gandhi a good reason to dispel the prevailing notion of India being a highly price-sensitive market where viewers are unwilling to pay for content. He estimates the addressable market for SVOD in India to be above 50 million currently, with a potential to reach nearly 100 million in the coming years.

    The response to Disney+ Hotstar’s revised pricing plan designed to have devices tailored against tiers is another testimony to the acceptance of SVOD by value-seeking customers. Elaborating on the rationale behind the new scheme, he stated, “While we were providing access to all types of content, the mode of access is where we thought we could add more value. The broad idea was to make available all types of content to individuals as opposed to having content restrictions by tiers.”

    Growing the SVOD Category

    Rayan observed that going ahead “the overall success of SVOD will depend on three factors – making content more interactive, innovation in business models beyond the existing freemium, AVOD, TVOD, SVOD to something like ‘mircotransactions,’ and taking the user experience to a level where people can get their ‘intent’ from the platform itself.”

    Disney+ Hotstar started its Originals journey in 2019 and it has since then diversified into various genres and formats. “We intend to deliver a piece of original content every two weeks for all our different kinds of users including sports fans, active streaming users, and ‘TV watchers’  who use OTT as a ‘companion app’ to TV. Additionally, we are also exploring ways to get internet users on to our platform with short-form content, short but episodic and other formats that are native to digital,” said Rayan. 

    India is one of the highest engaged countries for Prime Video service in the world. Having grown three times in the last two years, today it enjoys viewership from 99 per cent of the pin codes. Another highly encouraging development witnessed by the brand is the emergence of ‘cross viewership’ wherein viewers are watching content across languages. “Today 50 per cent of the viewership for Tamil, Telugu, Malayalam, and Kannada DTS films on our platform comes from outside the home state. Similarly, international language content such as ‘Parasite’ last year or ‘Maradona: The Blessed Dream’, this year is being viewed widely,” shared Gandhi.

    He credits the quality of Indian content on streaming services that are at par with international standards for the 20 per cent viewership (one in every five views) on Prime Video originals coming from outside India. According to Gandhi, another significant trend in the past couple of years, especially through 2020-21, has been the acceptance of OTTs as a ‘living room phenomenon’ and a product for the household as well as the individual, simultaneously.

    Buoyed by these developments, Prime Video has doubled down on investments in the content to keep the momentum on SVOD going in 2022. As regards sports content, while it has made a start in the direction, Gandhi asserted, “We feel very good about the fact that our overall entertainment portfolio has many strong pieces in it, and we are not dependent on anyone. We would like to evaluate the opportunities that exist in sports, but we are not compelled to.”

    For Disney+ Hotstar 2022 will be about “working on user engagement, experience, and stickiness while delivering quality content at scale,” informed Rayan.

  • YouTube reports $6 billon ad revenue in Q1, up 49% from year earlier

    YouTube reports $6 billon ad revenue in Q1, up 49% from year earlier

    KOLKATA: YouTube’s advertising revenue rose dramatically in the first quarter of 2021 , up 49 per cent from the same quarter in the last year. As the parent company Google/Alphabet reported its first quarter earnings, YouTube ad revenue amounting to $6 billion has trumped all expectations.

    Google and Alphabet chief financial officer Ruth Porat has credited “exceptional performance in direct response and ongoing strength in brand advertising” for the jump in ad revenue. The direct response business is now a large and fast-growing business for the segment, Google chief business officer Philipp Schindler added.

    The platform is also working on shopping capabilities of viewers on the platform. “I think we’re still scratching the surface on what’s possible really with commercial intent on YouTube,” Schindler said. He emphasised that advertisers are using YouTube to reach audience that they can’t find anywhere else. The video viewing platform is starting to see an advertiser mix of awareness and more action-oriented formats who are driving reach and results across the funnel.

    The video giant currently boasts of over two billion monthly logged users and over one billion hours of daily video consumption. Interestingly, its short video platform has also seen exponential growth. “YouTube Shorts continues to gain popularity with over 6.5 billion daily views as of March, up from 3.5 billion at the end of 2020,” Google and Alphabet CEO Sundar Pichai said.

    Overall, Alphabet reported $55.3 billion in Q1 revenue, up 34 per cent year-over-year. “Over the last year, people have turned to Google Search and many online services to stay informed, connected and entertained. We’ve continued our focus on delivering trusted services to help people around the world. Our Cloud services are helping businesses, big and small, accelerate their digital transformations,” Pichai said in a letter to the shareholders.

  • Online video surpasses 1 billion subscriber mark globally

    Online video surpasses 1 billion subscriber mark globally

    KOLKATA: For the first time ever, online video services have surpassed the one billion subscriber mark globally. In the pandemic hit year 2020, the overall subscriber base has reached 1.1 billion, recording a 26 per cent year-on-year growth, according to a report from Motion Picture Association.

    The global home/mobile entertainment market has raked in $68.8 billion in revenue, marking a 23 per cent increase over 2019. In the United States, subscriptions have crossed 308.6 million, representing a 32 per cent growth from 2019, and the home/mobile market increased 21 per cent, reaching $30 billion.

    While the global market for theatrical and home/mobile entertainment distribution fell 18 per cent to $80.8 billion, the surge in the digital entertainment market has helped partially offset the decrease in the global box office caused by theatre closures during the pandemic.

    “Despite the challenges to the global economy brought on by the Covid2019 pandemic, the film television, and streaming industry has once again risen to the occasion,” said Motion Picture Association chairman and CEO Charles Rivkin.

    “Streaming experienced another huge boom, with new entrants into the market and more than one billion subscriptions worldwide for the first time ever. We kept audiences connected and entertained wherever they were and whenever they desired. Theatrical and home entertainment remain two essential parts of this dynamic and iconic industry, and I am confident that movie theatres will experience a great comeback in the months ahead,” he added.

    However, cable TV revenue is still larger than the online video market. Cable revenues for global industry stood at $116 billion.

    55 per cent of US adults reported that their viewing of movies or shows/series through an online subscription service increased, while 46 per cent reported that their viewing via pay TV increased. More than 85 per cent of children and over 55 per cent of adults watch movies or shows/series on mobile devices.

    Daily viewers of movies or shows/series on mobile devices skew more heavily towards the 18-24 and 25-39 year-old age groups, as well as the Hispanic/Latino and African-American/Black ethnicity groups.

    The global box office market for all films around the world was $12 billion in 2020; Within that number, the US/Canada box office market was $2.2 billion. The top three box office markets outside the US and Canada were China ($3 billion), Japan ($1.3 billion ), and France ($500 million ).

  • Online video to take lion’s share of video biz revenue in the Gulf by 2025: MPA

    Online video to take lion’s share of video biz revenue in the Gulf by 2025: MPA

    KOLKATA: As more people shift to alternative entertainment options, online video business is going to surpass pay-TV in next five-ten years worldwide. A report by Media Partners Asia (MPA) has projected that online video will account for the lion’s share of total video industry revenue by 2025, with both pay-TV and free TV in six Gulf Cooperation Council (GCC) countries. Within the region, the Kingdom of Saudi Arabia (KSA), and the United Arab Emirates (UAE) will continue to contribute over 70 per cent pay-TV and online video revenues in aggregate by 2025.

    According to MPA, the GCC video industry – comprising free TV, pay-TV and online video – will generate revenues of $1.6 billion in 2020, representing a 13 per cent year-on-year contraction with deep declines in TV advertising and subscription, only partially offset by the significant growth of online video. Covid2019 related macro issues have exacerbated headwinds across the TV sector. A rebound is expected in 2022 but the TV industry will face difficulties in the long term. Overall, GCC video industry revenues are forecast by MPA to increase to $2 billion by 2025, a CAGR of 5 per cent from 2020.

    MPA vice president Aravind Venugopal said: “The GCC’s vibrant and highly competitive video ecosystem has seen some significant changes in the past few years. Online video services continue to grow, driven by: low-cost pricing; telco partnerships, including hard bundles; and the availability of premium local and global content online, including increased investment into exclusive originals.”

    Even with telco partnerships, which help to broaden the customer funnel, the longer-term success of OTT platforms will rest on their ability to retain customers, manage subscriber acquisition costs (SAC) and increase lifetime value (LTV).

    “Over the next five years, the focus will move to the acquisition of high LTV subscribers via D2C. Market consolidation is also likely as the GCC region will be unable to support 15+ platforms with many competing in the same customer segments. New entrants into the market such as Disney+ Hotstar and HBO Max, could provide further impetus to industry growth, competitive intensity and consolidation,” he added.

    Venugopal also noted that the slow pace of innovation by pay-TV operators combined with high prices of subscription based video services, and the proliferation of broadband have contributed to the decline of pay-TV. IPTV has maintained subscriber growth, driven primarily by hard bundled triple-play services. However, as telcos re-examine their cost structures and investments in content and platforms, there remains an impending threat of the breaking of the hard bundle, which could further endanger pay-TV, he surmised.

    The report further states that within the GCC online video sector, three business models have emerged in recent years: freemium operators, led by MBC-owned Shahid, PCCW-owned Viu and Zee’s Weyyak; SVoD operators, led by Netflix, Amazon Prime Video, STARZPLAY, Jawwy TV, Watch iT and OSN Streaming; and AVoD operators, including YouTube and TikTok.

    Given the diverse demographics and large expat population in the region, several services targeted at specific language/ethnic groups have also launched in recent years. These include the Indian and South Asian segment, which are key audiences for Zee5, SonyLIV, Eros Now and YuppTV. As platforms seek to further expand their customer base and drive consumption, investment in Arabic originals has become a key battleground. While the Covid2019 pandemic and the economic-political crises in the region have impacted production activities, MPA has forecast that productions will return to normalcy by Q1 2021 as economies recover.

    In the telecoms sector, fixed broadband has been relatively insulated from economic woes given its utility-status in UAE and low penetration in KSA. However, mobile services, particularly prepaid, have experienced subscriber declines. The UAE and Qatar leads the region, both in terms of fibre connectivity and penetration with over 90 per cent of homes having access to fixed wired services via fibre. From a mobile perspective, the GCC is well connected, with a highly competitive environment (ex-UAE) keeping retail prices relatively affordable. Data consumption remains fairly high, driven primarily by video services. There remains further scope for growth, especially in markets with low fixed broadband penetration.

  • Lockdown binge-watching a boon for OTT

    Lockdown binge-watching a boon for OTT

    MUMBAI: This unprecedented crisis called COVID-19 has turned out to be a blessing in disguise for OTT platforms. With people locked indoors, the only refuge has been their smartphones, giving way to, possibly, the next wave of growth for OTT companies. New-age entertainers, such as ZEE5, MX Player, Voot, Netflix and Amazon Prime Video, seem to be the obvious beneficiaries as people stay cocooned in the comforts of their homes for weeks.

    Will ad and subscription revenue go up along with the viewership?

    According to the BARC-Nielsen report, the time spent on smartphones, the main device to consume online content in India, has increased by almost three hours per week in week 2 of COVID-19 disruption. Time spent on video streaming apps also grew by 11 per cent which was driven by original series and movies. Hence data has proved what experts predicted at the beginning of the crisis.

    “There will be an impact on all industries. OTT is one of the few sectors which will have a silver lining. Bandwidth for data consumption for telcos will also shoot up. A lot of reality shows and soap-operas which are on a running model have suddenly dried up for short to mid-term and TV channels have to show alternate content. However, when you are confined at home, content consumption both on TV and OTT will go up dramatically. While the supply chain has certainly been affected, content creators and media players will have to be smart enough to see how they build their business continuity plan of content and how they maximise the increased TV or OTT viewership,” says PwC India media, entertainment and sports advisory, partner and leader Raman Kalra.

    SBICap Securities institutional equity research head Rajiv Sharma reaffirms that this is a great thing for the sector. He believes the industry will see a quantum jump in OTT viewership and consumption. Sharma adds that while TV channels are running out of content, OTT platforms have a lot of content which has not yet been consumed by all viewers. According to him, some platforms like Netflix can always have more English content. He, however, reminds that if the lockdown gets prolonged to three to six months, then OTT platforms too will struggle to churn out fresh content.

    Sharma adds that movies can play a role here. Those that were slated for a theatrical release, but had to be called off due to the current situation, can be released digitally through OTT platforms. Irrfan Khan-starrer Angrezi Medium had a short run in theatres before it decided to make its digital debut on Disney+ Hotstar.

    Kalra believes that the situation could even boost subscription for OTT platforms. As more people consume content, some of them will get converted into paid subscribers, bringing in revenue to the digital medium. Sharma also believes that these new subscribers will rake in the moolah for OTT platforms once the situation stabilises.

    The next 90 days will witness growth for the space, according to Sharma. Ad spends will shift to digital, but at a lower rate than the normal. According to him, overall ad sales combining TV and digital may decline by 15-20 per cent if COVID-19 disrupts the business for more than 30 days.

    “With this surge in traffic, telecom operators are struggling to provide adequate bandwidth. When bandwidth consumption reaches the threshold, the user experience gets affected. At this point, companies wouldn’t want to show ads because that will put an extra burden. Currently, ad-dollar is down and no brands want to push them. The only ones that can break through are those that can create relevant content around COVID-19,” says DigitalKites senior vice president Amit Lall says.

    The promise of innovative offerings

    Eyeing opportunities, some platforms have opened up their premium content for free viewing during this period. Some others are trying to push their content to television or partnering with payment gateways. These are inorganic growth mechanisms that are being targetted.

    Amazon Prime Video has brought out a special catalogue of children and family content, available for free; and ZEE5 has also made an array of premium content available on the AVOD side. Eros Now is offering a free two-month subscription. Three of Alt Balaji's shows are being run on Zee TV.

    While media planners laud the social cause behind these moves, they also mention that this is a big opportunity for the SVoD players to get consumers to sample premium content. Media professional Lalit Agrawal says that this sampling will help consumers make an informed choice about the quality of content when they would want to subscribe in the future after the turmoil is over.

    Lall says, “For two to three months, consumers will get to taste the content and since everybody has a sizable inventory in terms of content, once viewers are habituated, they can stick. These people who are now getting into the wheel will move up to pay.”

    Indeed, this phase, caused by a sudden change in lifestyle, is scripting a new chapter for online content with more consumers adapting to streaming services and existing ones increasing the uptake and sampling more platforms. Both AVOD and SVOD platforms will try to convince new floating users with not only great content but also volume. 

  • RentoMojo launches video emphasizing the concept of subscription

    RentoMojo launches video emphasizing the concept of subscription

    MUMBAI: RentoMojo, a pioneer in lifestyle subscription & consumer leasing business, announces the launch of its online video highlighting the benefits of the unique propositions of ‘rent to own,’ of assets procured from the company through subscription – Rental Monthly Instalments (RMI).

    The video primarily targets a generation that is constantly on-the-move, while also dreading the prospect or the hassles associated with relocation such as shipping large household assets like furniture and appliances.

    While ownership of such assets through outright purchase puts the onus of transportation and installation on the buyer, subscription of these from RentoMojo relieves the subscriber of these worries, thereby making it an extremely practical and effortless option. It also targets consumers who are wary of investing large sums in household assets, doubtful of its utility, comfort or longevity.

    RentoMojo has launched this video as a part of their campaign that uses relatable life scenarios, combining them with light humour and metaphor to distinguish the brand’s unique propositions and to enhance its recall value. The narrative is short and to the point, yet highly effective, as it is aligned with some of the key consumer pinpoints.

  • Facebook Watch has its work cut out in video content creation

    Facebook Watch has its work cut out in video content creation

    MUMBAI: Tech giant Facebook, with over 2.2 billion monthly active users, is quickly reshaping the world’s digital ecosystem. Despite Wall Street’s disappointment with its Q2 results, the company generated $13 billion in ad revenue during the period. Now, Facebook has opened up another avenue to increase its advertising revenue by gaining a stronger foothold in the crowded online video space. It is very evident that the Mark Zuckerberg-led organisation is investing in video more seriously than ever before, rolling out Facebook Watch globally. This, at a time when video viewing has become a core digital activity among internet users. A recent Zenith report forecast that global consumers are bound to spend 84 minutes a day watching videos online by 2020.

    While Facebook remains the unquestioned king of social media, Facebook Watch has had its work cut out with the likes of Amazon, Netflix and YouTube dominating the online video space. Despite the challenge, the sizable user base of the platform is a worthy asset to enhance its new product. Moreover, Facebook’s latest offering is likely to delight digital marketers and advertisers.

    Last year, Facebook launched this video viewing hub in the US. Initially, it tested with a limited group of publishers and creators. The early aim was to offer longer form episodic content many of which were created by traditional media and production companies and social media stars. Later, it expanded the range of content as well as options for content creators.

    After experimenting with the service for one long year, the social media giant finally made it available everywhere. As the Indian market holds a very important position in the company’s business, its foray into India’s streaming market is a good move at a time when digital advertisement revenues are growing rapidly. According to KPMG 2018 report, digital advertising saw a 35 per cent growth in FY18 over FY17.

    As YouTube is the largest digital video platform in the country with 225 million monthly active users (MAUs), it is undoubtedly the main rival for Facebook Watch. While YouTube is the go-to place for video, users log on to the social networking platform to connect to peers and family rather than to watch video. On the other hand, users log on to Facebook several times every day but YouTube is not a habit of users. In addition to that, Facebook knows users emotions far more than the Alphabet-owned video hub, making it easier for targeted marketing. Hence, it is certain that the new video service of the platform is going to throw a potential challenge to YouTube.

    “Obvious advantages aside, Facebook will have to up the ante pretty quickly to seriously compete with YouTube. Competition is good for the industry. And this development bodes well for both, advertisers and audiences,” The 120 Media Collective founder and CEO Roopak Saluja commented on the upcoming war.

    Several people are speculating about the future market share of Watch in online video space but what matters more is user engagement. To increase overall profitability, higher user attention is highly co-relatable as it signals they are finding value in the service.

    “Indian digital consumption market is growing at breakneck speed. While market share remains to be one of the top tracked parameters for a brand’s success, one must understand, if the market has grown by 10x in the past two years, adaptation, acceptance and stickiness to the app matters more than the market share,” said White Rivers Media chief executive officer and co-founder Shrenik Gandhi.

    However, Facebook wants to differentiate its new video service with altered formula. It wants to connect people through videos rather than focusing on passive consumption. The aim is to turn Facebook Watch into a service where people can watch videos together, discuss about content, even if they are accessing it from different corners of the world through separate devices. For example, it has features like Watch Party which lets people watch alongside friends.

    “Facebook Watch is a big move which shall lead to more aggressive video viewing habits of Indians. As Mark Zuckerberg had predicted, 90 per cent content on social media shall become video content in a few years, it makes sense to have a separate section dedicated to curated and fan videos. It’s high time brands make video content creation as a part of not only hero strategy, but also hub and hygiene.  Time will come, when brands will have to adapt to videos or perish on social media,” Gandhi commented on Facebook Watch’s impact on digital advertisers and marketers.

    Vidooly co-founder and CEO Subrat Kar also thinks that from a marketing angle, it will be a great medium for advertisers to run a mid roll ad for the right audience, just like on YouTube. Facebook only allowed running ads in the newsfeed. He also adds after global rollout of Watch now the platform is actually taking the option to original content producers.

    “Facebook uses a lot of AI and algorithm to figure out what is the most interesting point of content. While watching a video on Facebook, the ad comes on exactly at the most interesting point. This is one interesting thing you can experience on Facebook, not on YouTube. Facebook knows well what the emotion of an audience is.  Going forward, it will open new avenues for marketers and lot of traction because metric on Facebook is 3-second viewing,” Kar added.

    While established content creators or media houses with a good number of followers can leverage the new service well, it remains to be seen how it will help small-scale content creators to create a fan base from scratch. User-generated content attracts a large number of users to Facebook, even more than YouTube. But since the monetisation model of Watch is not clear yet, it would take time to pick up the interest of content creators.

    “For content creators, the monetisation model for YouTube is very clear. You could be a massive media company or you could be a creator in a room with a fan following, YouTube will take 45 per cent tax on whatever the revenue. I believe Facebook’s rev share split is along the same lines. At the moment, Facebook Watch is more geared towards monetisation for organised content creators and media companies or established content creators who command a sizable audience, whereas YouTube has advantages in terms of building a following from scratch. Will Facebook be able to do the same thing? That is the question. They have everything aligned to be able to, that is for sure,” Saluja said.

    Saluja said that five years ago YouTube had the largest bouquet of content from broadcasters like Star, Sony, Viacom and Zee. They aren’t present on the platform any longer because they did not want to share a good amount of earnings with Google. “So what remains to be seen is whether Facebook will open up easy monetisation for amateur content creators looking to build a fan base. Because, much like they’ve done over the past few years, there are latent possibilities waiting to be leveraged. Facebook needs to open up the tap another notch every now and then,” he added.

    This move also could be Facebook’s secret weapon to drive into live sports streaming more actively. In theUS,  Watch already streams popular sporting events including some baseball and basketball games. The platform even got an exclusive WWE show. Already, the social media giant acquired the right of the streaming premier football tournament La Liga in India. Last year also, the social network made a $600 million bid to acquire digital rights to show Indian Premier League cricket games in the country, but failed. There’s a possibility that the company could get more aggressive about acquisitions now.

    Facebook Watch, the new asset of the tech leader definitely has promising opportunities to emerge as a service to watch videos. With a user-friendly interface, it can attract more consumers also. But the very first thing Facebook needs to do is proper marketing to create more awareness about the video service, especially when users from its domestic market are also not totally aware of it. It can be said YouTube’s new rival has a long way to go.

  • Zenith report says online video viewing to cross 1 hour a day

    Zenith report says online video viewing to cross 1 hour a day

    MUMBAI: Consumers across the globe are becoming increasingly engaged with online videos. Zenith’s Online Video Forecasts 2018 reveals global consumers will spend watching online videos more than one hour on average this year. From 2017’s 56 minutes, the average will go up to 67 minutes.

    In addition to that, the report also predicts this time span will go up to 84 minutes in the next two years. Viewers from China, Russia and the UK are expected to watch the most online video at 105, 102 and 101 minutes per day respectively.

    “It [online video] accounts for almost all the growth in total internet use, and is growing faster than media consumption overall, so it is taking consumption time from traditional media,” the report says.

    Still now, ad spends for online video is very less compared to traditional media. The report predicts that by 2020, online video adspend will reach 23 per cent of the size of television adspend. In 2015, online video ad market was 10 per cent of the size of the TV ad market.

    “The rapid rise in video viewing makes online video the world fastest-growing advertising format, creating new strategic and creative opportunities. Brands that do not currently have a strategy for online video need to think about getting one,” Zenith’s global intelligence director Jonathan Barnard said.