- ACT Fibernet rolls-out 1 Gbps plan in Bengaluru after Hyderabad
- Vishnu Shankar takes charge as &TV business head
- Unitech Shares Plunge 13% As Supreme Court Stays NCLT Order
- Tax department probes unregulated bitcoin exchanges after valuations jump
- Coal scam: Fmr Jharkhand CM Madhu Koda, Fmr coal Secy held guilty
- Deadline for linking PAN with Aadhaar was extended to March 31, 2018
Creating quality localised content on OTT platforms
MUMBAI: At the thematic seminar ‘New Opportunities in the Explosive Growth of Online Entertainment’ at the Hong Kong International Film and TV Market (FILMMART), representatives of four online entertainment companies discussed how to tap into the OTT platform market by producing and sourcing quality localised content.
User pay model is key to business development
iQIYI senior VP Yang Xianghua pinpointed the fast-growing audience for OTT platforms in the Chinese mainland over the past few years. “It is estimated that within this year or next year, the number of people who watch streaming videos using mobile phone networks will reach half of the country’s population. In view of this, iQIYI is actively working with our partners to produce high-quality full-length online films,” he said.
Xianghua mentioned that there are two revenue models in place at present: advertisement revenue and user fees. The number of videos that generated more than Rmb1 million in profit for the company surged from 35 in 2015 to 122 in 2016, which points to a huge online market.
Conference moderator Variety Asia editor Patrick Frater raised the question of how to tackle the issue of many online entertainment companies running at a loss.
In his response, Yang noted that iQIYI has invested a lot in purchasing and producing content. In order to attract audiences, a significant portion of the content is free in the early stages. However, he predicted that the platform will turn the deficit into profit, as the number of subscribers and page views increases and the pay-per-user model is established. “Young Chinese viewers are relatively affluent, so they are willing to pay for higher-quality content,” he added.
Localised vision to meet demands of different markets
PCCW Media assistant VP, content management digital media Meg Lee summed up the current trend: “Korean content is king.” ViuTV, therefore, is closely following the Korean trends and actively sourcing quality Korean entertainment video content such as dramas and variety shows, which have attracted a large number of fans of Korean trends to follow the channel.
Regarding producing and sourcing content that caters to the tastes of local audiences, Lee noted, “ViuTV has its own team in each country, as well as an independent team that is in charge of collecting audience data and analysis. We also work with different local companies so as to quickly grasp the demand of the local market.”
ViuTV has its own team of translators who translate related content into local languages in a timely fashion. “We can only stay at the forefront by seizing the opportunities from the fast-changing trends,” she added.
Diversified video content attracts wider audiences
As audience tastes change quickly, companies need to constantly explore new initiatives and adjust their strategies, which results in high investment risks.
Line Company Thailand content business director Dan Zonmani stated that Line TV partners with various brands in co-productions of new online content, which in turns lowers investment risks. Line TV also offers diversified video content. “Besides local content, we also feature content from Japan and Korea while refining our existing content to cater to the local audience’s taste.”
In addition, Line TV features re-runs of dramas and live broadcasts in a multi-pronged approach to attract audiences.
In providing content that caters to Thailand’s market, it is essential for the company to understand and respect the local culture while taking risks. “For instance, at the passing of the King of Thailand, we purchased a three-hour film whose content revolves around songs that are written about the King of Thailand. Broadcasting such a lengthy film on Line TV was a new attempt, and a worthy one,” he added.
Japanese video on demand platforms bloom
Among various markets, Japan was one of the last to join the OTT platform revolution since the country’s traditional entertainment culture remains strong and it is difficult for industry players to break into the Japanese market.
Nakase Keiko, Director (Animation Division and New Business Development) of Mytheater DD stated that there will be a gradual increase in the number of Japanese audiences who watch videos on OTT platforms on mobile devices, and the market of VOD services platforms is expected to reach $1.3 billion in value.
Despite the tremendous market potential, there are also various challenges for companies who wish to enter the market. For instance, while Netflix and Amazon produce original dramas for their VOD platforms in Japan, the companies face competition from traditional TV stations. Nakase believed the companies must differentiate their programmes from traditional TV content. For instance, greater emphasis may be placed on star casting to arouse audience’s interest.
In conclusion, online entertainment companies must cater to the audience’s tastes, keep a firm grasp on market trends and provide quality, localised content to attract more viewers in order to tap into this fast-changing and tremendous entertainment services market.