It makes perfect sense for streaming platforms to create their own content. But, it’s a whole different ball game when tech manufacturers like Apple decide to offer original programming to their customers. Sure, the company’s Apple TV and iCloud offerings would support a business strategy like this, but Apple’s reasoning is based on declining sales of iPhones, and officials only plan to put about a billion dollars behind the production.
Apple CEO Tim Cook also plans on putting limits on the content itself, stating that programming must be wholesome and should mirror the brand’s image. Now the question is, how does Apple plan on getting a piece of the streaming media pie and competing with giants Netflix, Hulu and Amazon who heavily invest in original content production and already monopolize the industry? Only time will tell.
Cable providers must play it safe while transitioning their cable subscribers to fully IP-managed services/OTT. By upgrading their already existing hardware or set-top boxes with Android TV, customers can enjoy regular TV programming while also having around-the-clock access to apps available on the Google Play Store and its dynamic database of content from streaming platforms to games. Cable providers can also utilize Google tech advancements such as voice-search and other smart TV capabilities. This enables providers to keep a consistent brand experience with all of the latest offerings.
The pay television industry in Asia is expected to grow by 5 percent this year and may continue to expand at a rate of about 3 percent until 2023. But parts of the sector are now in reverse, reflecting the impact of Internet-based distribution. Variety magazine took a quick look at the latest edition of the Asia Pacific Pay-TV Distribution report published by leading industry analysts Media Partners Asia in this article:
At one time, YouTube was the source for short-form, bite-size content. Funny, thought-provoking, educational or emotionally riveting videos that could potentially bring people a little fame by going viral. Today, YouTube has become the web’s largest content database. And it’s no longer short, how-to tutorials that are getting the most eyeballs. The “storytime” video genre, for example, is now one of the most popular forms of content, with videos lasting from 45 minuets to over an hour.
Making short, shareable videos designed to appeal to the broadest audience possible has given way to something, not only longer, but more niche, and YouTube seems to be banking on this business strategy to take the platform from an online social network, to a bona fide entertainment network.
Wired magazine recently noticed this YouTube shift: https://www.wired.com/story/youtube-video-extra-long/
Television viewing, as measured by Nielsen, continues to drop, especially among young viewers as they watch more content on alternate screens and devices. Twenty four percent of US households no longer have a cable/satellite subscription, up from 16 percent just two years ago. As a result, a growing number of television shows now have a median age of older than 60, falling well outside the 18-49 demographic many advertisers target. But how are programs on streaming media to be measured? Must Nielsen innovate and create a rating system for streaming content and on-the-go video? The case for a OTT rating system is becoming more and more necessary as audiences of all ages continue to cut the cord.
Here’s a good article from Forbes exploring the issue: https://www.forbes.com/sites/bradadgate/2018/11/12/the-ripple-effect-of-streaming-video/#15c613c04327
When the VP of Product and Marketing for Sling was asked what differentiates his company from the competition, his answer was very simple: We offer programming a la carte. Meaning customers only pay for what they watch. This is a sentiment we can agree with from a video providers perspective, as the content they produce and the experience they offer is completely dictated by the consumer, on an even individual basis.
Video providers must deliver a user experience that appeals to each and every customer and profile, so each session feels highly personal and tailored. A child’s profile, for example, should have a different look and feel, and appropriate content that is very individualized. The same goes for the parents, who may use a particular profile to watch movies or TV shows together, or separately. Video providers of all types should strive to deliver an individualized experience for every customer.
For decades, pre-recorded video formats carried with them technologies to protect the content from theft, illegal distribution and piracy. But today, with live streaming becoming the dominant medium, studios, video producers, broadcasters and others in this space are now concerned with protecting their content in-real time. Savvy pirates are learning how to disrupt the live streaming process by illegally accessing the cloud and content owners are feeling very unsafe. A solution is now needed to combat these acts.
When we compare a leading streaming media provider to one of the nation’s largest telecommunications providers, we see a difference in how they approach content. The streaming media platform cares primarily about offering the most extensive and unique library of high-quality content possible. The telecommunications provider on the other hand, is focused primarily on the tech and distribution of that content. With this in mind, Verizon has just established itself as the world’s first commercial 5G service. That said, Verizon is zeroing in on creating the fastest, most reliable content distribution service possible for its mobile customer base, who are streaming video anywhere, anytime and mostly on the go.
Streaming media giants like Netflix have to be smart when it comes to the content they offer. While much focus has been placed on producing original content, these platforms continue to offer classic TV shows that bring a feeling of nostalgia and appeal to multiple generations of viewers — and now Jeopardy has joined Netflix and Hulu. Having a healthy mix of contemporary and classic programming is a smart strategy for inviting the world to participate in the streaming experience.
The fact that one of the highest-quality streaming services ever created has closed after just two short years of service begs the questions: Can niche streaming services survive on their own? Must niche categories and titles live within the immense libraries offered by Netflix, Hulu, Amazon Video and the likes? We’ll have to watch and see.