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Tag: streaming

  • 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.

  • Odisha’s OTT platform, AAO NXT enchants audiences with exciting and original content

    Odisha’s OTT platform, AAO NXT enchants audiences with exciting and original content

    Mumbai: Kaushik Das’ love for technology inspired him to start his new venture, AAO NXT – the premium and most entertaining Odia platform, which is currently bringing a path-breaking change in the OTT market. 

    The platform is slowly foraying into the Odia OTT market and offering audience ‘originals’ like never before. It is Odisha’s first independent platform that aims at showcasing short films, web series, feature films and documentaries. “So far, the platform has 700 short films from across the globe and a bouquet of classic Odia films from the 60-70s era, which are streaming on the AAO NXT platform. We have 400 odd Telugu and Tamil films in our library,” AAO NXT’s chief financial officer Ram Patnaik tells Indiantelevision.com.

    Having produced some of the most successful and marvelous shows on the streaming platform, Patnaik reveals that the home-grown brand AAO NXT has a diverse mix of content slate that is winning the hearts of the audience. The content portfolio of the platform builds a high level of excitement and entertains consumers in multiple ways with endless experiences and innovations ranging from thrillers, crimes, dramas and many more. Showcasing some interesting content slate like Club 69-a web series, “Ardha Satya”- an action drama film, and “Kokoli”- an award-winning Odia film, “Four” -a first of its kind Anthology, the OTT platform looks to embark on a new process of storytelling that allures viewers. Patnaik expresses the upcoming releases like “Capital Talkies”, “Jajabara 2.0”, Anthony -a web series, “Suka Bhaira Sholay”, Maliput Melodies-a web series, and Mandara: The Hibiscus is likely to provide audiences with some enticing storytelling. These new films and shows are expected by December 2022.  

    AAO NXT means ‘All about originals’”, he says and reveals that the Odia entertainment and media industry has a dearth of original stories, and the objective of AAO NXT is to provide indigenous, exclusive and unique stories that can stimulate and delight the viewers. Patnaik sees a vast opportunity in the Odia market, he has confidence in exhibiting extraordinary storytelling to the audience, which can create wonders in the Odia OTT space. The content library of AAO NXT is exemplary and focuses on original storytelling, and is likely to nudge it further, irrespective of the language.

    The growth prospects

    Since its inception in 2020, AAO NXT has garnered the attention of a lot of viewers, pushing its revenue growth further. The platform is expected to touch a revenue growth of Rs 5 crore in 2022 with a 50,000 subscriber base. Patnaik added, “We are working currently on a complete subscription video on demand (SVOD) model. We expect to reach Rs 15 crore in 2023 in terms of revenue growth.” 

    “We target to double our subscriber base. By December 2023, we expect to reach two lakh subscribers. The model will not only be SVOD, and the platform will explore advertising-based video on demand (AVOD) as well. So we expect considerable and significant growth in advertising revenue in the future,” he adds. 

    To fascinate the advertisers, AAO NXT targets to add more original content, which will build trust and facilitate the growth of the platform. “The advertisers will show interest in advertising on the platform only if we create original content. The idea is to tell original stories in different languages. It is not restricted only to Odia – we are also venturing out into other languages. For instance, we will enter into the Bengali and Assamese markets, and capture them. We have plans to enter the Malayalam market to explore exclusive content. We have started from Odisha but will tell original stories from all across India,” Patnaik tells Indiantelevision.com.

    Stream original content

    Keeping in mind the burgeoning demand of audiences from across the world, AAO NXT is focusing on inspiring the audience with India-based original content. “There is an opportunity to stream Indian-based original content. We are streaming those stories on our platform, which are original, simple and easy to understand. Indian content has been appreciated by audiences from all across the world.”

    His and Kaushik Das’ vision is to make AAO NXT “the Netflix of Southeast Asia,” Patnaik says. “The idea is to scale up the operations and showcase a variety of content from across the world. Netflix is an inspiration because the platform is producing original stories day in and day out, year after year,” he adds further. 

    He highlights that there are 4.5 crore Odia people and amongst this, 3 crore people are Internet savvy. “This is a huge number that we can cater to and showcase our original content pool. If we can cater to 1 crore of this number, we can probably meet the market requirements,” Patnaik adds at length.

    Moreover, AAO NXT is ready for a new journey and bestows a complete entertaining basket to the viewers with its beautiful and contemporary content. The home-grown OTT platform will offer a superior and reimagined experience to the viewers going forward. 

  • International streaming service Starzplay rebrands as Lionsgate+ in 35 countries

    International streaming service Starzplay rebrands as Lionsgate+ in 35 countries

    Mumbai: Starz has announced that its premium international streaming service, Starzplay, will rebrand as Lionsgate+ in 35 countries. This coincides with a new brand look and graphics package, rolling out globally on 29 September 2022.

    The new brand look, with its graphics package, colour palette, and design elements, will be deployed in the U.S. and begin rolling out in the majority of Starz’s 63 country footprint. Starzplay will rebrand to Lionsgate+ in 35 Starz markets, excluding the US and Canada, where it will remain Starz. Brand names for Starzplay Arabia, along with South and Southeast Asia’s Lionsgate Play, will also remain in place.

    “We recognised the potential of the global OTT market early, and over the last few years we have built an incredible global streaming service, which has become a destination for audiences seeking premium, provocative programming. Operating under Lionsgate+ internationally brings a distinct and differentiated identity in an increasingly crowded international marketplace and builds on the brand equity in the Lionsgate name that our extensive research has proven is strong around the world. Even with the separation of STARZ and the Lionsgate studio business, the Lionsgate brand will continue to be valuable to the ongoing success of our international platform,” said Starz president & CEO Jeffrey Hirsch.

    “Our commitment to delivering bold, curated stories where we push boundaries and defy expectations remains the same. We have built strong relationships with our viewers and look forward to continuing providing them with premium storytelling as Lionsgate+,” said Starz president of international networks Superna Kalle.

    Lionsgate+ subscribers have access to a library of exclusive, premium content, including original series premiering globally on the same day as the United States, such as the political thriller Gaslit; period dramas in its royal collection, such as the upcoming series Dangerous Liaisons; and a series set in the universe of the blockbuster Power franchise. Lionsgate+ is also home to Spanish-language original series such as the drama Señorita 89, sci-fi thriller El Refugio and crime drama Express, and offers first-run series on television, including the genre-bending series The Great, and the action-thriller series Gangs of London, plus a collection of movies added to the platform every month.

    Starz established itself as one of the first US linear channels to enter the global market upon launching its global SVoD service, now Lionsgate+, in 2018, offering audiences access to what it calls bold, curated storytelling. Since its initial launch, coupled with its Starzplay Arabia joint venture, Starz’s global footprint has expanded into 63 countries throughout Asia, Canada, Europe, Latin America, MENA and Southeast Asia.

    With the rebrand in effect, below is the breakdown of service names across the 63 countries where SVoD has a presence.

  • Legends League Cricket streaming live across India, US and Australia

    Legends League Cricket streaming live across India, US and Australia

    Mumbai: With the Legends League Cricket (LLC) underway in India, the spectacle of various cricketing legends playing together is set to have a global footprint. The league has secured worldwide broadcast across the US, Australia and India.

    Along with Star Sports, both Disney+ Hotstar and Fancode are live streaming the event simultaneously in the country.

    The league’s broadcast partner in the USA is Willow TV, one of the top sports broadcasters in the country. This league broadcast will undoubtedly provide cricket a huge boost in terms of increasing its popularity, which is already growing in the US.

    Australia has long been a sporting giant with ardent supporters all over the country. Fox Cricket, the league’s official digital streaming partner, and Kayo Sports, their official broadcast partner, will help the league and its fan base grow.

    Retired cricketers assembled to play together in the Sky247.net Legends League Cricket that commenced on 16 September and will conclude on 5 October, 2022. The league stage matches are currently being played in Lucknow and will be followed by Delhi, Cuttack, and Jodhpur.

    “Having Disney+ Hotstar and Fancode sharing broadcasting rights has never happened before, but it feels great that we could do the same as our belief is to reach the maximum number of cricket fans and engage with them and get them closer to the icons of the game. There is a lot of excitement, be it the cricketers themselves or the fans, and we are happy that we are at the centre of this. The primary objective of this league has been to connect with every cricket fan and bring forth a nostalgic factor and bring back the excitement among the fans. Huge Indian and Asian populations in the US and Australia are there to be tapped along with a global footprint, and we are glad that we are able to connect with them and more,” said Legends League Cricket CEO & co-founder Raman Raheja.

  • GUEST ARTICLE: How web 3.0 can take full advantage of streaming’s potential making it accessible to all users

    GUEST ARTICLE: How web 3.0 can take full advantage of streaming’s potential making it accessible to all users

    Mumbai: Web3 promises to be the renaissance for how we use internet services. It is fundamentally an idea for a more open, decentralised, and secure internet, governed by anti-monopoly and pro-privacy norms. Naturally, the scale and allure of OTT services’ revenue and seemingly insatiable demand make it a prime industry to attempt to ‘disrupt’. The proposition boils down to ‘what value addition does this new technology and ownership structure bring’. It’s an idea we have experimented with for a few years now being on both 1.0 and 2.0 versions of the web.

    Web3 splitting the pie

    There are broadly three models that can exist at scale with web3 characteristics—one, where users are owners [I own a piece of Netflix and I watch it], two, where creators are owners [the studios or the producers or the individuals], and three, where ownership is split between creators, users, and intermediaries [marketers, platforms, other intermediaries, etc.]. Depending on the market this hypothetical business operates in, some of the business models become viable based on the negotiable split amongst these many stakeholders.

    Cutting the middlemen

    The promise of web3 essentially posits ‘cutting the middlemen’ who supposedly ‘do not add value to the flow of creation to consumption, or at least reduce their ‘cut’. “Hey, why is the app store taking 30 per cent?” and “Wait, XYZ label makes millions of dollars off her song, but my favourite artist lives in a rented house?” are the kinds of questions that can be approached two ways. First, since the relationship between creator and consumer is paramount, and since the audience makes someone famous by consuming created content, the value should primarily be distributed between these two.

    Second, stars and hits are made, not born. So, the backers, marketers, technology developers, and distributors (who work thanklessly behind the stage, risking their time and money) deserve a large part of the credit (aka value).

    Therefore, the model of web3 works well for already established creators who can rely on fanfare and loyalty to create subsequent work. However, they will have to choose between their audience’s capital or the existing pool of professional backers. They do acknowledge that the former carrier risks additional work in raising capital, but with the benefit of doing it on their own terms.

    For the new and upcoming creators, it offers them better terms, but at the risk of losing mainstream system support that has proven its success so far.

    Race to the start

    There is now an increasing list of examples of creators across movies, music, social media content, and TV experimenting with the web3 path, which has led to a crop of new web3-only services. Even incumbent studios, distributors, and platforms are making investments in web3 businesses. Following sufficient examples, existing incumbents will further adapt to offering web3-based models as well.

    The fact remains that the entertainment industry overall has very clear risk-reward profiles. If creators take the risk simultaneously with their hopeful audience, they can all potentially gain from it, but will then be on opposite sides of the table. And to create what we deem “hits,” large-scale distribution is still a professional industry, the providers of which will always demand a high fee for their services.

    The web3 model’s adoption will thus grow at the rate that the creators are willing to take it—and help create more stars and hits than the “industry” has allowed since it offers an alternative path to grow. To the end audience, for any type of content, the key criteria remain quality, price, and on-demand. Adding the proposition of being an earning shareholder makes the deal sweeter depending on the potential earnings. What could eventually emerge is a model where audiences contribute to a diversified pool of creators of their choice, while creators will choose who provides intermediary services to them. Some may argue that this is not too different from existing models, but the creatives are pathbreakers by nature.

    The author of the article is Vistas Media Capital & Fantico chief strategy officer Dhruv Saxena.

  • HBO Max delivers a new mobile, desktop apps for an improved user experience globally

    HBO Max delivers a new mobile, desktop apps for an improved user experience globally

    Mumbai: Warner Bros. Discovery’s OTT service HBO Max has completed the rollout of a new user experience on desktop, iOS and Android mobile devices, and Amazon Fire tablets, where available globally. The replatformed app delivers highly requested new features from HBO Max fans and marks the conclusion of moving all HBO Max apps to a new, more performant tech stack. This was a process that started with replacing connected TV applications last year in September.

    The latest features available in the updated HBO Max mobile and desktop applications include:

    1.     Shuffle button functionality is expanded to mobile devices. Previously, only available on the desktop and CTV experiences, this feature gives users the ability to randomise the first episode that plays for select series on the platform.

    2.     SharePlay support for iPhone and iPad users (US only): Subscribers in the US with an ad-free plan and an iPhone or iPad can now use SharePlay to watch their favourite HBO Max programmes in sync with friends and family while on a FaceTime call.

    3.     A dedicated home for downloaded content with improved performance and stability.

    4.     Tablet support for both landscape and portrait orientations.

    5.     An enhanced screen reader experience with improved navigation elements and functionality.

    6.     The ability to split screens with other apps on any behaviour-supported mobile device.

    7.     The intuitive navigation has been updated.

    8.     A refined design and visual styling to let the content shine.

    9.     Chromecast’s stability has been improved.

      10.  

    According to the platform, these updates mark a significant improvement to the experience that will further connect audiences with the stories and storytellers.

    Warner Bros. Discovery Streaming senior VP of product design Kamyar Keshmiri said, “We are delighted to introduce the revamped HBO Max mobile and desktop apps. The changes give our users more of the features they care most about, along with improved navigation and a more immersive canvas for storytelling, helping them click play on their favourite content faster and with less friction.”

  • Reliance Jio launched its streaming platform ‘JioGamesWatch’

    Reliance Jio launched its streaming platform ‘JioGamesWatch’

    Mumbai: Mukesh-Ambani-led Reliance Jio has launched its new streaming platform called ‘JioGamesWatch’ recently. It is the one-stop solution for all types of gaming content that the users will enjoy watching. The streaming service will be available on Android, iOS and even Set Top Boxes.

    Similar to Twitch, JioGamesWatch will offer game-streaming to the users in a convenient way. “The platform has set its sights on empowering and enabling creators to go live, with any device, under low Latency, and showcase the best of their content to millions of viewers,” Jio said in a press release.

    Its viewer engagement tools help to stay ahead of competition, such as emotes & audience polls. The app is fruitful for casual gaming enthusiasts, developers and game publishers. It also has amazing online games, esports and tournaments.

  • Streaming accounted for over one-third of US’s TV consumption in June: Nielsen

    Streaming accounted for over one-third of US’s TV consumption in June: Nielsen

    Mumbai: In June, streaming captured 33.7 per cent of total television consumption in the US, according to The Gauge, which is Nielsen’s monthly total TV and streaming snapshot. This is streaming’s largest share of TV usage to be measured by The Gauge since its inception in May 2021. Conversely, while viewership for broadcast and cable is traditionally lower during the summer months, June represented the smallest share yet for the formats, which totaled 22.4 per cent for broadcast and 35.1 per cent for cable.

    Total time spent watching TV in June increased slightly (+two per cent) from May, bolstered by 8 per cent uptick in streaming volume over the same interval. Time spent streaming jumped by 23.5 per cent on a year-over-year basis, allowing the digital format to add six  percentage points to its share of TV in 12 months.

    This considerable increase in streaming had a similar effect on streaming platforms, four of which saw record-high viewing shares in June: Netflix, Amazon Prime Video, Disney+, and YouTube (including YouTubeTV). Viewers spent 16 per cent more time watching Netflix than the previous month, allowing Netflix to gain a full share point from May and capture 7.7 per cent of total TV viewing—the largest month-to-month growth for a streaming platform. Compared to June 2021, all reported streaming platforms in The Gauge have seen significant growth in viewing, led by Amazon Prime Video (+31.9 per cent), Disney+ (+22 per cent), and Netflix (+18.1 per cent).

    While cable viewing in June fell two per cent from the previous month, the category lost 1.4 share points in TV usage over the same period. Cable continues to show some of the largest year-over-year shifts of any viewing category, dropping five percentage points and -11.9 per cent in viewing compared to June 2021.

    Due to the conclusion of the traditional broadcast TV season, time spent watching broadcast was down 6.7 per cent in June compared to May, and the share of viewing declined 2.1 percentage points. While these declines are fairly typical for this time of year, broadcast viewing this month was down 3.9 per cent compared to June 2021, and a full share point lower.

  • NAB Show New York registration opens, event to be held on 17–20 Oct

    NAB Show New York registration opens, event to be held on 17–20 Oct

    Mumbai: Registration has opened for the National Association of Broadcasters (Nab) Show in New York. The event will run from 17–20 October 2022 (exhibits 19–20 October) at the Javits Centre. The event’s mid-point timing, six months following the Nab Show in Las Vegas, aims to provide an opportunity for the Nab Show community to connect at a major East Coast venue. Attendees will gain strategic insight and engage with technology that is transforming broadcasting and the larger media & entertainment business.

    The National Association of Broadcasters’ Nab Show New York will provide hands-on learning and exploration of cutting-edge product features, applications, and workflows that support improved audio and video experiences. It will take place concurrently with the AES New York 2022 Convention.

    Exhibits Pass registrants will have full access to the NAB Show New York and AES exhibits as well as educational opportunities on the show floor, including an experience area with unique theatre, networking opportunities, and demonstrations.

    Conference programmes requiring separate registration include: cybersecurity for broadcasters retreat (October 17-18); post|production conference NYC (October 18); the streaming summit (October 18); TV2025: monetizing the future (October 19); the radio experience at NAB Show New York (October 19-20) and lastly, NAB Marconi radio awards (October 19).

    Nab EVP & MD-global connections and events, Chris Brown said, “We are thrilled to be back in person in New York and look forward to delivering an exceptional experience for exhibitors and attendees. The success of the Nab Show in Las Vegas reinforced the power of live events and the desire for a return to in-person trade shows. Nab Show New York is an important touch point for the industry to re-engage with the technology and thought leaders who are revolutionising the art of storytelling and moving the business forward.”

  • Netflix signs exclusive deal with Microsoft to launch its ad-supported plan

    Netflix signs exclusive deal with Microsoft to launch its ad-supported plan

    Mumbai: Netflix on Wednesday announced a deal with Microsoft as its global advertising technology & sales partner. The streaming service revealed its plans to introduce a new ad-supported subscription plan for consumers, in addition to their ad-free basic, standard and premium plans in April.

    This means that all ads served on Netflix will be exclusively available through the Microsoft platform.

    “Microsoft has the proven ability to support all our advertising needs as we work together to build a new ad-supported offering. More importantly, Microsoft offered the flexibility to innovate over time on both the technology and sales side, as well as strong privacy protections for our members,” said Netflix’s chief operating officer & chief product officer Greg Peters.

    Netflix’s long-term goal is to offer more choices to consumers and a premium better than linear TV brand experience for advertisers.

    “At launch, consumers will have more options to access Netflix’s award-winning content. Marketers looking to Microsoft for their advertising needs will have access to the Netflix audience and premium connected TV inventory. All ads served on Netflix will be exclusively available through the Microsoft platform. Today’s announcement also endorses Microsoft’s approach to privacy, which is built on protecting customers’ information,” said Microsoft president of web experiences Mikhail Parakhin.