FEED Issue 08

10 YOUR TAKE Deluxe

Tech has shifted the way we watch video. Content producers and distributors need to up their game AND KEEPS BREAKING IT HOW TECH BROKE THE VIDEO INDUSTRY –

have turned. The rise of online and mobile platforms paired with increasing on-demand, non-linear and cloud-based services has democratised the way content reaches audiences, putting the power in the consumers’ hands (literally). Today, content goes everywhere: it fits every screen, it travels to every region and is available at any time. Audiences have limitless options to find what they want, whenever and wherever they want it, forcing a shift in traditional entertainment models. The very idea of video entertainment has been disrupted – how that content gets to consumers will never be the same. The cost of entry for any content studio keen to compete in today’s media and entertainment space will be adopting technologies that seamlessly deliver content globally, while meeting viewers needs on a personal level.

have all played major roles in disrupting the long-established distributions models. The amount of content, the different entertainment platforms, the multitude of content types and the speed with which those can be delivered have all changed drastically in recent years. There are now more than 200 OTT services active in the US market alone, with more streaming services launching internationally – such as Netflix’s 190-country, 20+ language global footprint – and there are no signs of the industry slowing down. The ability to watch content on-demand and the rise of new choices are challenging the traditional and linear programming methods. The old guard is now being persuaded to embrace new technology, new types of content delivery and new audiences. In an effort to keep their heads above the stream, the industry is seeing a glut of M&A, new innovations and moonshots.

MORGAN FIUMI, CHIEF INNOVATION OFFICER, DELUXE The old guard is being pushed to embrace new technology and new audiences

atching TV isn’t what it used to be. And making entertainment isn’t what it used to be either. What we refer to as the

supply chain of entertainment – the journey from production to the viewer – has been disrupted on many levels. In 2007, the year Netflix announced it would launch streaming video, content distribution models were mostly limited to cinema, paid TV programming, broadcast networks, physical disc and the more niche cable networks. Distribution tracks were fixed. Distributors held the power, and audiences didn’t have much freedom or flexibility in the matter – they could either watch TV, sit in a theatre, or go outside. Fast-forward 11 years and the tables

THE FOUR 'V'S Velocity, variability, variety and volume

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