Facebook and Twitter are battling to win the right to stream conventional TV programming, The Post has learned. Both companies, eager to ramp up their capacity to deliver compelling live streaming video, have approached programmers about a deal for such rights, several sources familiar with the situation said.
Facebook, which is already pitching the NFL to acquire rights to a new Thursday Night Football digital package, has been in meetings with a wide variety of TV executives over the past few weeks, sources said.Late last year, it created a new product, “Facebook Live,” something akin to YouTube, sources said.
Source: New York Post
Labels are figuring out how to monetize their catalogs — building their brands, utilizing playlists — in new ways. And although there can be improvements in how royalties are collected and distributed, the problems don’t overshadow the fact that streaming’s prominent place in the industry has become settled law.
There are three types of music industry professionals. One type knows only a world of streaming, brand sponsorships and piracy. They might sell vinyl but don’t think much of the CD. Another type of professional remembers a time before Napster, compares current industry revenues to the peak of the CD in 2011, and obsesses over the amount of streaming royalties rather than the revenue the services generate.
Take video games, for example. Live broadcasts of gameplay are so popular that Amazon bought the leader in the field, Twitch, for $1 billion in 2014 (the streaming company is currently preparing to launch its food channel with a Julia Child marathon). In Korea, people watch live streams of other people eating food.
Former pharmaceutical executive Martin Shkreli live-streamed from his apartment after being charged with securities fraud and released on bail. Facebook has recently been pushing its own version, Live, to artists in the hopes they’ll incorporate it into their promotional strategies. Live-streaming concerts is technically possible, and viewership is high enough to attract sponsors.
A festival with five or six stages can carry a production cost between $500,00 and $800,000, said Hank Neuberger of Springboard Productions. People, often young consumers desired by brands, are willing to watch. And sponsors are already willing to pay for their attention. “With the right brand, it’s one long commercial,” said Karly Tuckner of C3 Presents.
Sharing copyrighted movies online is not legal, and rights owners are still furious about the amount of piracy out there — though many studies have shown that illegal downloads don’t cut into their bottom lines.
Of course, sharing DVDs with friends and family is perfectly legal and nobody will come after you for that.
What if a brand new streaming service took that approach to the next level? What if you could share your DVDs with millions of “friends” from around the world, and watch their DVDs just as you’d watch content on Netflix?
There’s a new movie streaming service called MovieSwap that wants to make DVD movie sharing popular again, but with a modern twist that’s likely to enrage movie studios.
Former Spotify exec Michelle Kadir led development of the platform, which shows acts their daily royalty earnings – including information pertaining to their label advance.
In addition, the app pulls together other key information for Sony Music Sweden artists (such as Molly Sandén, pictured), including streaming volume across all platforms, plus airplay data and profiles by age/gender/location of their listeners. A “heat map” highlights the areas in the world where the artist is currently popular – information which could, for instance, help inform an act’s touring plans.
Source: Music Business Worldwide
The playlists are genre-specific, and Spotify promises to update the lists every Wednesday. Anchoring the collection is a ‘Fresh Finds’ playlist, which sits alongside five other, genre-targeted collections. That consists of a hip-hop focused playlist; Fire Emoji, a rock playlist; Six strings, an electronic music playlist; Basement, a pop-driven playlist; Hiptronix, and an experimental music playlist; Cyclone.
Source: Digital Music News
The Federal Communications Commission is now examining how contracts with cable companies can prevent TV networks from launching Internet channels, the Wall Street Journal reports. The story, which cites media firms and unnamed “industry insiders,” reaffirms the idea that TV networks would face repercussions if they offered their services outside of a pay TV bundle.
Warner Bros.’ Feb. 23 deal to acquire the streamer DramaFever might seem a bit unorthodox because it provides primarily English-language audiences access to international programming. But the real play is for the New York-based company’s technology and its ambitions to operate a slate of streaming channels.
It already powers horror-themed Shudder, which former DramaFever investor AMC launched in the summer, and the documentary streaming service SundanceNow Doc Club.
Source: Hollywood Reporter
According to Stillman, his show will return in the near-future.
But the company — Soundtrack Your Brand — has its sights set on the US market, according to Sars, who cofounded the startup with Andreas Liffgarden, who used to head business development for Spotify.
Source: Business Insider
The world of entertainment, and more specifically video entertainment, is fairly mature in its transition to digital.
An entire generation of viewers are device agnostic and unfamiliar with network brands; they just want to watch their shows. Even older generations’ viewing habits have evolved to incorporate the convenience of streaming. Much has been written about this and doesn’t need any further discussion.What has been neglected, however, is a focus on the transition to digital when it comes to live sports.
Sports fans across the country, and even across the globe are understandably confused by what is available for them to consume on their digital devices.
Source: Adam Shaw