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Netflix never disappoints… Saw this DOOH ad at the busy Juhu beach and just can’t miss the sight of it… #netflix #doohadvertising #phygital #juhu
Netflix never disappoints… Saw this DOOH ad at the busy Juhu beach and just can’t miss the sight of it… #netflix #doohadvertising #phygital #juhu
Liked by Ted Sarandos
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Manuel Urrutia
I couldn't agree more with Jason Kilar, CEO of WarnerMedia prior to the Discovery takeover: the #streaming business can be incredibly attractive for media companies and investors. Kilar recently quoted Charles Darwin, stating, “It’s not the strongest of the species that survive, nor the most intelligent, but the one most responsive to change." We see this natural selection playing out in the #Media industry today. Some companies are adapting, while others are leaning back. To be clear: there is a path to growth, scale, and attractive margins for legacy media companies in streaming. But it requires leaving behind many old management practices and thinking and embracing change and innovation. #Strategy #BusinessGrowth #Innovation #DigitalTransformation #MediaEconomics #Netflix #Leadership #Investing
1406 Comments -
Joseph D. Chianese (He, Him) CPA, MBT
O P T I M I S T I C ! ! ”Los Angeles Film and TV Production Sees Sluggish Rebound From Strikes, but There’s Optimism” according to a report from FilmLA which notes an anemic return to filming in the region but that jobs appeared to return in full force in March. Filming in Los Angeles has been slow to bounce back after production in the region was decimated by Hollywood’s historic season of strikes. The main reason for the sluggish rebound: A double-digit drop in television shoots compared to the same period last year. Also playing a factor in the decline were reductions in content spend across most major studios, series cancellations and runaway production. While the difference was steep in January (30.6 percent fewer jobs, totaling 2,282), it was modest in February (5.1 percent fewer jobs, totaling 3,061) and nearly unnoticeable by the end of March (a 0.4 percent increase, totaling 3,274 jobs). There’s optimism in production levels for feature films. The category rose slightly in the quarter, picking up 634 shoot days to finish an estimated 7 percent ahead of the same months last year. Movies in production included Beverly Hills Cop 4, Atlas, and Lurker, all of which are getting tax credits to film in California. FilmLA also flagged the loss of commercial production — which slipped nearly 10 percent year-over-year and more than 33 percent below the five-year average — to other jurisdictions as a concern. Filming for smaller, lower-cost shoots, such as documentaries, music videos and still photography, similarly fell by roughly 5 percent. Entertainment Partners https://lnkd.in/g5veEE6R https://lnkd.in/gjhbnQdG
452 Comments -
Alan Wolk
ICYMI - The Week In Review looks at why most of The Trade Desk's "Top 100 Publishers on the Open Internet" list consists of streaming TV services and networks with URLs and why the list resembles a big consumer brands' media plan circa 1987. We also look at Nielsen's plans to measure Lionsgate's FAST channel and wonder why we're the only ones asking "Okay, but how?" https://lnkd.in/e8kpPVBE
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Jose (Jay) Cruz
STREAMING BUNDLES: Is the cable box making a comeback!? Subscriber churn remains an issue for SVOD services – 42% of US streaming subscribers report that they “'regularly subscribe, cancel and resubscribe,” according to Ampere’s Media Consumer survey covering 1Q24. But bundling streaming services can have a significant impact on mitigating the issue. Ampere cites Disney subscribers as an example: Consumers who had previously churned and then returned to take the Disney+/Hulu/ESPN+ bundle are 59% less likely to churn within 12 months than those who take Disney+ alone, based on 1Q23 sign-ups. Ampere also found that US resubscribers skew younger (aged 18-44), are more likely to be in family households, and are typically avid media consumers. And with that wide media diet, the cohort is 40% more likely than average to exhibit signs of subscription fatigue and 21% more likely to desire unified access to content across different services. Which makes bundles, Ampere concludes, a key strategy in subscriber retention. The cable box is making a comeback! This time, it's on your mobile device$!
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Chris Peterson
SiriusXM reported its Q1 earnings this morning, and the headlines are justifiably focused on its loss of subscribers (nearly 500k). Like all radio, its subscription business is highly vulnerable with the move to digital audio, especially in cars. But a bright spot? If you paid attention to Spotify's earnings, you wouldn't be surprised: "off-platform revenue." For SXM, this includes Pandora and podcast revenue, which saw a 7% revenue increase. During their investor call, they signaled the growth for podcasts, explicitly saying, "Podcasting revenue saw a 22% year-over-year lift in the quarter, while programmatic podcast revenue increased 12% sequentially and 97% year over year." I'd love to see SXM break out the podcast numbers even further, but if you look at what they do provide, it's easy to conclude that podcast revenue is growing much faster than other segments. For example, Pandora continues to bleed users (64k paid subs in Q1 alone), so podcast revenue seems to be the tide lifting all "off-platform" boats. When asked about their podcast initiatives, Scott Greenstein said, "One is, you know, the podcast thing and industry is really still in the second or third inning, so it's evolving." He is 100% right. SXM also signaled that it will continue to license more podcast content and is not closing the book on exclusive content. One more fun nugget: On today's call, podcasts were mentioned 30 times. Pandora was only mentioned ten times, SmartLess nine times, and Howard Stern... zero point zero. Where do you think their priorities are moving forward? Read more: https://lnkd.in/eRQTM2Kq ---- I'm the CEO and founder of DWNLOAD Media, a fund focused on acquiring majority stakes in podcast companies. With continued audience and revenue growth, podcasting continues to be the most under-valued medium, making it time to invest in audio. If you're interested in investing in the podcast space, DM me! #podcasting #audio #siriusxm #sxm #earnings #investor #investing #podcasts
9620 Comments -
Simon Harvey
Music Business Association Music Biz 2024 coming up in May. Find out more about Reactional Music and what we are delivering across interactive music, music personalisation, in-game economies, generative composable music and the possibilities for creators, composers, artists and developers
142 Comments -
🗝 Emilio García
“…music copyright valuation continues to grow at an accelerated pace. The global valuation ascribed to music copyright reached $41.5bn, according to industry economist Will Page. This is 14.5% more than 2022. More folks are streaming music than ever before. Vinyl sales are up. Concert ticket sales surpassed 2019’s figures, according to Live Nation. And beneath all of this are the songs, or copyrighted works. Without them, there would be no tours, no vinyl records and no streaming services. Funds that invest in this intellectual property are expected to continue to see a return. But across the industry, this is not the case.” “There are reasons for this - based both on data and perception. Qualitatively, the way the music industry - as a monolith - is perceived continues to be challenged. For example, in BBC’s daily news podcast, Global Story, a report on Taylor Swift referred to the music industry as ‘in crisis’ despite the macroeconomic data arguing otherwise. This is supported by the evidence of burgeoning inequality. While arenas and stadiums celebrate a bumper year, small music venues in the UK suffered their “worst year in a decade” according to the Music Venue Trust. Music education hubs - often the places where music is first created - are being cut by two-thirds in 2024-2025. However, quantitatively, the data reveals a different story. Music listenership is up, according to the IFPI. Revenue collections from CISAC, the international trade body representing collective management organizations was up 28% in 2022. Simply, more music would mean more return, especially for firms that own much of the music that is consumed, such as funds like Hipgnosis, Round Hill or Primary Wave or the three multinationals, Universal Music Group, Warner Music and Sony Music. However, debt is now more expensive, and liabilities are outstripping return. Listening to more music is not enough.” #CMOs #CISAC #IFPI #Artists #UK #RecordingRights #Performers #Royalties #MusicRoyalties #Music #Musica #MusicIndustry #Musique #Musik #Copyright #Copyrights #Songs #Songwriters #Recordings #MusicPublishing #Streams #Streaming #MusicStreaming #LiveMusic #Global #RecordedMusic #RecordLabels #IndieMusic
11 Comment -
🗝 Emilio García
“Warner Music Group (WMG) CEO Robert Kyncl has come out in favor of a US Senate bill that would crack down on unauthorized deepfakes, arguing that the technology could ruin lives, reputations and businesses if left unchecked. Although many in the music business are embracing AI, it’s also the case that “generative AI is appropriating artists’ identities and producing deepfakes that depict people doing, saying, or singing things that never happened,” Kyncl will tell a subcommittee of the Senate Judiciary Commitee on Tuesday (April 30). “Through AI, it is very easy for someone to impersonate me and cause all manner of havoc,” Kyncl said, according to his pre-prepared remarks shared with MBW. “They could speak to an artist in a way that could destroy our relationship. They could say untrue things about our publicly traded company to the media that would damage our business.” #AI #ArtificialIntelligence #Legal #GenerativeAi #GeAi #Music #MusicBusiness #Musicians #Musica #MusicIndustry #Musique #Musik #MusicLicensing #WMG #MusicVideos #Artists #MusicBiz #Streaming #StreamingServices #StreamingMedia #WarnerMusicGroup #USCongress #USA
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Bernie Su
Go Forward! 🌟 First #NABSHOW 2024 panel done! "Staying Ahead of The Curve: Producing Great Content with Emerging Media Technology" Honored to represent to TV academy with good pals (and former and current govenors) Lori H. Schwartz & Christina Lee Storm and new pals Faryar Ghazanfari & Nikki Tomaino. Even though we all hit different areas of entertainment/tech, we all agreed that there has never been a better set of tools out there as producer of the arts. You can do so much more with less. 🔥 My hot take with Gen AI? Learn the tools. You as an artist and producer are not a policy maker, they will figure that out. The tools and tech are here to stay (they may be recalibrated but they're here). So your job is to learn them and be the most productive and optimized artist and producer you can be.
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🗝 Emilio García
“As Universal Music Group (UMG) artists prepare to return to TikTok under a newly finalized licensing agreement, the major label’s head, Lucian Grainge, has shed light on the terms of the pact. While a number of outlets (and relieved TikTokers) are weighing in on the renewed UMG-TikTok tie-up, relatively little attention is being directed towards the union’s details. For reference, Universal Music upon kicking off the licensing showdown in late January cited qualms with the video-sharing app’s proposed compensation, royalty-calculation policies, AI practices, and alleged user-safety shortcomings. Now, in an internal memo penned by Grainge, forwarded to the UMG team (affiliates and partners may have also received the message), and shared with DMN, some of the fresh deal’s specifics have been disclosed.” #TikTok #UMG #TikTokMusic #Streaming #UniversalMusic #UniversalMusicGroup #Digital #Licensing #Artists #Songs #Songwriters #Online #Content #AI #ArtificialIntelligence #Tech #Technology #GenerativeAi #GeAi #AGI #AIMusic #Copyright #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz #MusicLicensing
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Jamie Branson
The sustainability of Streaming TV, FAST Channels, and AVOD (also known as FAST) hinges on the principle that operational costs must be eclipsed by profits. Currently, this balance is not being met. The crux of the issue with Streaming TV’s viability as a business lies not in technology but in a significant inefficiency in monetizing audiences. To elaborate, the advertising process involves a chain of 4-7 companies, each taking a cut, which results in the platform and content owner receiving a smaller share of ad revenue compared to platforms like YouTube. https://lnkd.in/dtBBQArp
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🗝 Emilio García
“US music publishers are ready to “fight again” as they attempt to halt efforts by Spotify to reclassify its subscription package. The streaming service wants to say that its main subscription product is a ‘bundle’ of music, podcasts and audiobooks. This would allow it to pay less to songwriters. The campaign against Spotify’s sneaky audiobook bundling plans in the US is gaining momentum, with the boss of the National Music Publishers Association declaring “it’s time to fight again”, and the Association Of Independent Music Publishers committing its “unequivocal support” for the NMPA as it embarks on a “critical battle to prevent Spotify’s scheme from taking effect”…. Spotify has been reshuffling its range of subscription products in the US, so that there is one subscription option that offers music and podcasts, and another that offers audiobooks. Meanwhile, the existing premium subscription option - which includes music, podcasts and audiobooks - is being defined as a bundle of those two other products. That is important because of the compulsory licence that sets out the payments streaming services must pay to music publishers and songwriters in the US. That licence has provisions for bundles, meaning that if Spotify reclassifies its main premium subscription as a bundle it will reduce what it has to pay publishers and songwriters on its core product. It’s been estimated that this move could result in $150 million of lost revenue.” #Spotify #NMPA #AIMP #Streaming #Songwriters #StreamingRoyalties #Royalties #MusicTracks #MusicStreams #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz #CompulsoryLicense #US #MusicPublishing #CRB #DiMA #StreamingServices #StreamingMedia #MLC #Pandora
21 Comment -
Jerry Del Colliano
Audacy in the blast zone of deregulation bombshell • How anyone unhappy with George Soros owning a large share of Audacy can now block it or fatally delay it by filing one piece of paper. • If the FCC fails to act in favor of the pending waiver Soros needs, then what? • How Audacy is quickly losing control of a critical timeline out of bankruptcy. • The prognosis of a fresh start promised by Audacy to advertisers and employees in light of recent developments. https://lnkd.in/eFrPBP35
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Potpourri News
Paramount CEO Bob Bakish to step down amid sale discussions https://ift.tt/zJ5qgv2 Paramount Global said Monday that CEO Bob Bakish is stepping down from his role, a major management shift at the media and entertainment company as it considers a potential merger or sale. Paramount said in a statement on Monday that it is creating an Office of the CEO to replace Bakish. The role will be filled by three Paramount Global executives: CBS CEO George Cheeks; Showtime/MTV Entertainment Studios and Paramount Media Networks CEO Chris McCarthy; and Paramount Pictures and Nickelodeon CEO Brian Robbins. “I have tremendous confidence in George, Chris and Brian,” Shari Redstone, chair of the board, said in the statement. “They have both the ability to develop and execute on a new strategic plan and to work together as true partners.” Paramount Global is the parent company of CBS News. Bakish’s departure comes at a pivotal moment for Paramount, with the company exploring a merger and other deals with several potential partners. In recent weeks, the company has held exclusive discussions with Skydance Media, a media firm founded by David Ellison, the son of Oracle founder Larry Ellison, according to published reports. The discussions are complicated by Paramount’s ownership structure, as Shari Redstone — the daughter of the late company founder Sumner Redstone — effectively controls 77% of its voting shares. Under a proposed deal with Ellison, Redstone would sell her voting stake to Skydance for $2 billion, while other Paramount shareholders would receive stock in a newly merged company, the Journal reported. The company didn’t address its merger discussions in the statement, although the board of directors said it is looking “forward to working with George, Chris and Brian as they execute on key initiatives to enhance performance and value creation at Paramount Global.” Bakish’s exit marks the end of a long career at Paramount that began in 1997 at Viacom, the movie studio’s predecessor company. He was eventually tapped to lead Viacom, and then oversaw the merger of Viacom and CBS in 2019. In 2022, ViacomCBS changed its name to Paramount Global. In an email sent to Paramount Global employees, Bakish said, “When I was asked to serve as interim CEO in 2016, I thought it would be a month-long gig. Seven years later, I can truly say the opportunity to lead this incredible company has been an unexpected but most welcome gift, and the greatest honor of my professional life.” Aimee Picchi Aimee Picchi is the associate managing editor for CBS MoneyWatch, where she covers business and personal finance. She previously worked at Bloomberg News and has written for national news outlets including USA Today and Consumer Reports. Source link via POTPOURRINEWS https://ift.tt/FPJkvEC April 29, 2024 at 09:29PM
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🗝 Emilio García
“Warner Music CEO Robert Kyncl says metadata issues make the industry more susceptible to AI in his NMPA meeting keynote: “It takes the teeth out of things.” Metadata problems have been a continual thorn in the side of music rights holders for the last two decades. When performing rights organizations (PROs) can’t accurately match a track’s metadata to its use, artists and their contributors miss out on hard-earned revenue. Warner Music Group CEO Robert Kyncl wants to bring those issues to light for the industry to solve, and he’s got some suggestions for going about it. At the National Music Publishers Association (NMPA)’s Annual Meeting in New York on Wednesday (June 12), Kyncl was interviewed by NMPA President and CEO David Israelite, during which the Warner exec was asked for his views on positive reform in collection societies. “One of the things that troubles me personally is that we’re basically collecting digital revenue the way we’ve collected analog revenue for decades. The speed of it; everything is the same,” said Kyncl. “That’s something we all collectively can do better and I think that will help songwriters tremendously.” “There’s a wealth of repertoire ownership information that sits with the collection societies, PROs, the [Mechanical Licensing Collective] and not everything matches perfectly,” he explained, calling for the industry to enable collection societies worldwide to collaborate in order to solve the continued issue of unmatched data. Kyncl stressed that reducing the amount of mismatched data is “incredibly important, not only for a faster flow of money today,” but for the music industry down the road as AI technology continues to grow. “If we set the rules of the road correctly with the platforms, it will have to depend on ownership information,” he added. “It’s one of the things that we really need to focus on.” Read the full article for more: #Metadata #PROs #CMOs #MLC #WarnerMusicGroup #WMG #NMPA #MusicRights #AI #ArtificialIntelligence #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz
32 Comments -
Rachel Falleroni
I could not agree with this sentiment more: “Free is a great driver to get people to try something,” says John Buffone, vp and media entertainment industry adviser at market research company Circana, noting, “Free doesn’t keep you there.” Regardless of platform type ... you need to build an offering and cost of entry that lures audiences in to sample what you've created ... and then you have to work to deliver on that promise and expectation day after day and week after week to consistently support the path leading to your strategic long-term vision, so the audience develops a new habit of returning to your platform - because each time they visit your platform, their expectation is met. Consistency is key. This growth and shift in habit for the audience takes time and patience ... regardless of the offering, regardless of the platform. You need to be in it to win it, so to speak ... with a right-sized expectation that matches your content and marketing investment and a realistic view of the time and resources needed to build audience in such a fragmented market. I love working with my clients to help right-size their expectations as we work together on short and long-term strategies to meet their platform goals. It's what I have been doing for over 25 years. If this type of guidance and partnership might be useful to you and your company, let's talk!
61 Comment -
Brian Donlon
Anyone who has ever set foot on the historic Paramount Pictures lot, must be disturbed by William Cohan 's reporting in Puck about Sony and Apollo Global Management, Inc. teaming up to buy the studio's parent company, Paramount Global (formerly Viacom). Gone will be hundreds of jobs in "marketing, distribution, business affairs, digital programming, etcetera. That might generate $3 billion in savings. " If that isn't bad enough.... the " extraordinary Paramount lot, near Hancock Park, would get sold for as much as another $1 billion." Is there a more iconic image of Hollywood and movie magic than the Paramount gate? (see below) Cohan also reports that "Paramount’s films would go to Sony Pictures, and any projects in production, on the shelf, or that need a turnaround, would also go to Sony." The consolidation of media continues to be troubling. Apollo's hand in the Gannett | USA TODAY NETWORK merger hasn't been a home run for journalists or consumers. As for Sony, government regulations prohibit foreign companies from owning TV networks & stations so what would that mean for CBS. So Apollo likely would fold CBS with its majority stake in the Cox stations. But that will likely exceed the limit the government permits any one company to own. So some stations may be sold. Does any of this sound good for journalism? Consumers? The entertainment business? Probably not, but read Bill Cohan 's work because it is good for shareholders of Paramount. There is an alternative that might not be great for shareholders but has proven pros like Jeff Zucker ready to right the Paramount ship. https://lnkd.in/eNTVaNYs
286 Comments -
Paul Greenberg
Good report from Variety on #generativeAI in the film and TV industries. One intriguing tidbit was how big an effect people think AI will most likely have in certain areas of the industry: the top three are search and discovery, video analytics, and localization. Content creation was further down the list. It's also got a good outline of the state-of-the-state, as well as an overview of attitudes toward the tech from a number of different parties.
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