How technology is disrupting the Media & Entertainment industry: Rejo Francis T

Rejo Francis T, Circle Head, Zee Entertainment Enterprises believes Artificial Intelligence and Blockchain will drastically alter the Media and Entertainment industry

e4m by Rejo Francis T
Published: Jun 12, 2019 8:44 AM  | 11 min read
Rejo Francis

I got the inspiration to write this article from an incident that I observed some time ago when I visited Las Vegas and was walking around trying to grab some lunch. I could hear screams and shouts from one of the small shops in the area lined up with restaurants.

I found a young boy on a big reclining chair which was moving at 360 degrees with a headset on his head and with hands covered with gloves which were also wired in. The teenager was in a VR (Virtual Reality) show and was totally in it, living the experience.

Being a media person, I had just witnessed first-hand the future of entertainment from one-dimension- virtual reality,  which is just one of the technology trends that will change the way we are used to consuming content but also the way the Media and Entertainment industry functions today.

In this article, I will look at two other technologies which will drastically alter the Media and Entertainment industry; Artificial Intelligence and Blockchain. Artificial intelligence is the first of the technologies which to me will alter the way the industry works.

Let’s look at how this will come about.

Audience understanding

Within the Media and Entertainment, the bulk of the data work today is dedicated to audience understanding; who reads, listens to, and watches your media and entertainment content? Audience insights help in the creation of anything from business strategy to marketing and content creation.

Generally, representation learning, at the heart of neural networks, allows us to make use of more unstructured data, such as image and text data, more easily unlocking novel, exciting interpretations.

Personalization

Like all industries, there is a strong trend for personalization and for optimization of conversions. Personalization efforts are related to improving the experience of users and increasing their value by increasing the probability that users see multiple pages (or read multiple articles). These come typically in the form of recommendation algorithms that suggest another movie or serial to be watched based on what the user has used in the past.

This kind of personalized service is the new normal in Media and Entertainment and has become an extension of a brand’s identity and ability to drive business.

Or imagine developing a video game where the opponent actively learns from and adapts to the player’s personal style of play. Where storylines change, and character responses become less predictable. And imagine creating and delivering personalized content, reducing time, cost and effort during post-production, and boosting audience engagement and conversion rates.

What AI will do to the Media and Entertainment industry

Digital assistants to help content discovery and search

Imagine the local content that gets created and shared today. We are all bombarded with multiple videos on the various social media platforms like WhatsApp, Instagram and Facebook. But today there is no option I can select from this innumerable content what I really want to see.

What AI will eventually do is help search and watch only want we want to see.

Fully immersive experiences

This brings us back to where I started. VR (Virtual Reality), AR (Augmented Reality) and Mixed Reality (MR) will alter the way we have been accustomed to consuming content and provide a fully immersive and personalized experience.

a) Pokémon Go is a perfect example of Augmented Reality in action. Players of the game use their mobile devices to track down 2D cartoon Pokémon, which appear in real-world surroundings. Their locations, frequency, and manifestations are all dictated by algorithms. The game has proven to be incredibly popular, and a notable nod to the fact that the way people consume media and entertainment content is changing.

b) Snapchat would be the next best example  Behind the quirky filters lie complex machine learning algorithms. Facial recognition enables the app to detect a face, recognize facial features, and create a 3D mesh that overlays the image over specific coordinates on the face, moving with it. In other words, people can pose and take a photo of themselves with the features of a cat (ears, whiskers, tail, etc.) blended somewhat seamlessly over their own features.

c) Spider-Man Homecoming VR offers players the chance to suit up as SpiderMan, hone their web-shooting skills and sling high above New York City in pursuit of the Vulture. The VR experience will be available for free across all major VR platforms.

Changes across the entire spectrum by eliminating intermediaries

AI will influence all parts of the media value chain, helping content creators to be more creative, helping content editors to be more productive, and helping content consumers to find the content that matches their interests and current situation.

Predictive Capabilities

Media companies can also use AI to strengthen their predictive capabilities. For example, AI tools can be used to predict demand to adjust resources or to predict possible disruptions in the content supply chain (such as a content supplier failing to meet a deadline). These use cases could bring sizable savings to media companies

An AI application Azure Video Indexer, for example, builds upon media AI technologies to make it easier to extract metadata from video, including timecoded transcripts, faces, speakers, objects, actions, brands, keywords, and sentiments.

Similarly, the Microsoft Azure Data Platform can capture data about user interactions with online media, building user profiles (also of anonymous users) that in turn are used to power recommendation engines, personalization, ad targeting and inform content investments.

The second technology which according to me which will bring about a dramatic change in the Media and Entertainment industry is Blockchain.

Key areas within the Media and Entertainment industry that Blockchain will affect

Piracy

With a shared database which is continuously updated and reconciled that a blockchain offers, the biggest problem of the Media industry, piracy will be a thing of the past as each transaction will be recorded and updated instantly and the said database will be available for all members to see.

Easier contracts and royalty payments

Blockchain will lead to smart contracts which will be used to enforce license terms and dispense payments in financial transactions. For instance, it could allow certain digital content to be published and downloaded at a defined time and price — and could then split the payout among content creators. So, when a consumer downloads, for example, a song, the smart contract would automatically kick in, charging the buyer and distributing the revenue in pre-negotiated proportions to the specified stakeholders.

Ujo Music, a music software services company, used a smart contract application in what it claims was the very first launch of an artist’s album on a blockchain. Under the contract terms, consumers could buy individual songs from the album online using Ether, a digital currency; as soon as the transaction was recorded, the content owners received their money. Monegraph already provides an ownership registration service for digital art using the blockchain technology.

Blockchain Time Stamping

Blockchain time-stamping, allows photographers and other creators of digital artwork to register proof of copyright quickly and inexpensively so that they can protect their creations from unauthorized use on the internet. Time-stamping is a simplified version of smart property. It doesn’t track ownership changes, but it does confirm that the creator-owned the asset at a specific point in time.

Blockchain content ledger

This records digital content information like asset metadata and social media transactions. It is a direct extension of smart property. Indeed, once a blockchain is used to store ownership information, it can also be used to hold additional information about the content. For music, this might include the songwriters, performing artists, publisher, and label. In the case of social media, it can include user posts and related activities such as “upvoting,” “downvoting,” and comments. Because the data is decentralized (not controlled by any single party) and irreversible (once entered and accepted, items can’t be changed unilaterally), it’s both highly secure.

Crowdfunding

A recent example of this type of project is the use of Ethereum to crowdfund the movie “Braid.”

Monetizing content

Monetizing content for both creators and curators. The first new business model involves creating a social network in which users can earn financial rewards (in the form of micropayments or payments of digital currency by posting their own content or curating and promoting others’ posts.

Rather than allowing the platform owners to reap all the monetary benefits, as happens today with established players like Facebook and LinkedIn, this model compensates independent content creators (bloggers, experts, hobbyists) and consumers (social network users who enjoy sharing their opinions) for their contributions. For example, Steemit, a blockchain-based social network, rewards content creators with digital currency (called “Steem”) based on the popularity of their posts.

Another blockchain-based startup called Yours operates a digital platform on which authors and other content creators publish their work and charge fees in the form of Bitcoin Cash.

A one-stop content shop by removing intermediaries

Am attaching below some of the examples of the same which are already becoming a reality

a) Singular DTV, a blockchain film and television studio and distribution portal. Singular DTV caters to video and film producers by giving artists more control over their work, allowing them to launch, distribute, and monetize content without the usual intervention from studios or production houses and without being tied to exclusivity agreements with distribution channels. At the same time, it uses smart contracts to enable consumers to browse, access, and pay for content instantaneously with digital currency.

b) Creativechain targets artists, including musicians, designers, and writers, using a blockchain designed to support content registration, distribution, and monetization. Artists can choose from different licensing methods, ranging from free distribution to paid limited editions. This flexibility lets them select the method that is best suited to distributing their work. Under this scenario, there is no need for third-party distributors to bring the content to consumers and collect revenue; the platform handles that directly.

c) Musicoin focuses exclusively on the music industry and encourages independent artists to register and publish their work on its own blockchain-based platform. It uses a standard pay-per-play smart contract to reward musicians based on preset fees each time a song gets played. In addition, consumers are encouraged to reward their favorite artists with tips. Besides distributors, other players typically involved in music rights management (including what are known as “performing rights organizations,” which essentially collect royalties for music performance on behalf of rights owners) are not needed on this platform since it connects music consumers directly to artists or labels and automatically customizes revenue distribution.

Digital Ad fraud shrinkage: The Digital Media industry is suffering immensely because of ad frauds, bot clicks and a dozen of misinterpretations. Companies most of the times are unable to evaluate if the Ads they place and are paying for because sometimes click on Ads are created by the bots. This actually leads to a vast amount of money being wasted as Ads could not be monitored as it should have been. Blockchain Advertising will prove to be a solution as the entire Blockchain is encrypted and transparent and hence guarantee that the Ad Metrics are verifiable.

One example of this facility is Metax which utilizes Blockchain against Ad frauds. On the advertiser's end, it provides a trustworthy solution for tracking and verifying all ad impressions. Also, they offer publishers the control and ability to retain the full value of their content to attract premium ad spent.

Targeted Advertising

The concept of targeted advertising along with the decentralized engine will very likely turn out to be an effective tool for both consumers and small and large companies alike. In the past, the Advertisers used to gain information about their customers from various disperse sources. With Blockchain advertisers will have the capability to build a customer profile from the data customer is willing to share in a single scoop. This actually allows to market to customer needs and spend advertising budget only on customers who are most likely to buy your product. To conclude, as customers viewing habits change people consuming content on the go whether it’s on their local train, on a flight or even while walking and as we all get used to multiple devices changing the way we view content and the creation of content becomes much more easier and as people shift to watching to videos more than reading which is the rapidly emerging trend.

The adoption of Artificial Intelligence and Blockchain in the Media and Entertainment industry will accelerate these changes and alter the way not only we consume content but also the way Media and Entertainment companies work.

Watch this space for more on this topic as the industry evolves and reinvents itself.

 

(The author, Rejo Francis T. is the Circle Head, Zee Entertainment Enterprises)

 

Disclaimer: The views expressed here are solely those of the author and do not in any way represent the views of exchange4media.com

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HT Media posts Consolidated Total Revenue of Rs 580 crore in Q2

Chairperson and Editorial Director Shobhana Bhartia says due to lower commodity prices and control on costs there has been an improvement in operating profit

e4m by exchange4media Staff
Published: Nov 5, 2019 7:28 AM  | 1 min read
HT Media

HT Media has posted a Consolidated Total Revenue for Q2, 2020 at Rs 580 crore.

As per a statement released by the company, EBITDA for Q2’20 increased by 139%, and margins at 14% vis-à-vis 6% in previous year. This has been driven by softening of newsprint prices and continued focus on cost.

The Net Cash position at a consolidated level continues to be strong.

The Print ad revenue has declined due to sluggish volumes, even as yields have improved. National advertising continues to be soft, although local advertising witnessed growth.

Savings in raw material costs have driven improvement in EBITDA margins.

Chairperson and Editorial Director Shobhana Bhartia said, “Slowing economic growth has hit advertising spends in key categories, putting pressure on revenues across the media industry. As a result, our Print and Radio (on like to like basis) businesses saw revenues dip as compared to a year-ago. However, thanks to lower commodity prices and a tight control on costs, we saw an improvement in our operating profit. On the digital front, Shine, our online recruitment portal has shown good progress and continues to grow. Our outlook for the coming quarter remains cautious, given overall economic sentiment and macroeconomic trends. Cost-control and falling commodity prices should help protect our margins.”

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ABP Group posts Rs 15.70 crore as net profit in Q1 FY20

The group’s total operating income stands at Rs 365.55 crore

e4m by exchange4media Staff
Published: Nov 4, 2019 5:41 PM  | 1 min read
ABP

ABP Group has posted a net profit of Rs 15.70 crore in the first quarter of FY20, as per media reports.

The group’s total operating income stands at Rs 365.55 crore.

It’s net profit for the fiscal ended March 31, 2019, was down 68% to Rs 31.90 crore compared to the previous fiscal.

The Profit Before Interest Lease Depreciation and Tax (PBILDT) has also dropped 53.52% to Rs 107.12 crore.

The group has six news channels - ABP News (Hindi), ABP Ananda (Bengali) ABP Majha (Marathi) and ABP Asmita (Gujarati), ABP Sanjha (Punjabi) and ABP Ganga (Hindi).

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Zee Media posts consolidated revenue of Rs 137.03 crore for Q2 FY20

ZMCL has recorded 4.4% growth in operating revenue for first half of FY20

e4m by exchange4media Staff
Published: Oct 24, 2019 9:19 AM  | 1 min read
ZMCL

Zee Media Corporation Ltd (ZMCL) has posted a 4.4 per cent growth in operating revenue to Rs 337.6 crore in the first half of FY20, as per media reports.

It has reported a consolidated revenue of Rs 137.03 crore for Q2 FY20.

In a statement, ZMCL has said: “During the quarter, the network expanded its footprint s into Southern India through the launch of Zee Hindustan in Tamil and Telugu languages. This is intended to make the network's content accessible to wider audience.”

The operating expenditure in Q2FY20 has dropped by 21.7 per cent.

The statement further said: “EBITDA for HlFY20 improved by 34.1 per cent to Rs 1,029 million from Rs 767.5 million EBITDA for H1FY19, while the same declined by 9.4 per cent to Rs 370.2 million from Rs 408.7 million for the corresponding period last financial year. EBITDA Margin grew from 23.7 per cent in H1FY19 to 30.5 per cent in HlFY20, while growing from 24.2 per cent in Q2FY19 to 27 per cent in Q2FY20.”

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No slowdown here: In-cinema ad rates up by at least 50% for 3 big Diwali releases

Housefull 4, Made In China and Saand Ki Aankh ready to hit the silver screen this week, with the hopes of giving brands the eyeballs they look for in theatres

e4m by Moumita Bhattacharjee
Published: Oct 24, 2019 8:41 AM  | 4 min read
DiwaliFilms

It’s that time of the year again when theatres gear up to pocket maximum gains. Diwali is here and there are three films ready to hit the silver screen this week--Housefull 4, Made In China and Saand Ki Aankh. The festive period brings much joy to exhibitors, distributors and theatre owners because it ensures footfalls, giving brands the eyeballs they look for. In fact, industry experts don’t feel that economic slowdown this year has impacted in-cinema advertising. While they are concerned about three movies clashing during Diwali, they predict 50-100 per cent rise in ad rates during this period. 

Advertising moolah

Mohan Umrotkar, CEO, Carnival Cinemas, is expecting 60-70 per cent surge in advertisement topline compared to last year. “Going by the buzz and advance booking for these three releases, market is bullish. Advertisers have blocked most of the advt-slots during the festival period. Housefull 4, Made In China and Saand Ki Aankh all combined together should generate around Rs 350 crore topline at the box office during the festival week. We are expecting 60-70 per cent surge in the advertisement topline from last year. Also, this year we have added around 14 per cent new advertisers, and 4 per cent of them are first-time cinema advertisers,” he says.

But according to Siddharth Bhardwaj, Chief Marketing Officer - Head of Enterprise Sales, UFO Moviez, things have changed a lot in the last couple of years. “Since some films have not really lived up to their expectation, advertisers are spreading the spends all through the year. They are picking up far more number of titles in the year rather than focusing only on Diwali or Eid.”

“It is good for the industry because you can monetise the inventories beyond just big weeks. A lot of content- driven films have come up which has given us the opportunity to monetise more markets. It has put lesser pressure on Diwali. Most of the cinemas are sold out for Diwali. It becomes difficult to accommodate everything,” Bharadwaj opines. He also reveals that for this week, the inventories are already full.

Diwali ad rates

Experts reveal that ad rates differ from property to property and depends on location as well. But Diwali surely sees a massive hike in rates. This year, theatre owners are expecting 100 per cent rise in ad rates. While Umrotkar revealed that for Diwali, they are charging 100 per cent higher than the regular card rates, Girish Johar, trade analyst and film producer, shared that even the rates for putting up kiosks of brands go up during festivals like Diwali.

“It’s based on property. On a ballpark, ad rates double up. So if you are putting up a kiosk, they charge say Rs 50,000-25,000 for a month. During Diwali, they charge almost double because of the kind of footfalls theatres witness,” Johar revealed.

Economic slowdown? Not for Cinema!

This year, brands have been pulling back their spends on other mediums due to economic slowdown, but cinema seems unaffected. Calling entertainment business recession-proof, Johar explains, “If you see the other side, box office is up by 15-20 per cent. Yes, it is a bit subdued because the brands are in a wait-and- watch scenario. They are increasing their focus around consumption rather than awareness.”

Bharadwaj too seconded it by saying, “These are challenging times but our medium is very efficient. If you see economy has slowed down, but the cinema has grown instead.”

Clash cover

Three movies are clashing this Diwali which means shared screens and box office gains.

“It’s never good for us when two or more big-ticket films release together. If they would have come on different dates, there are chances that more advertisers will take advt. inventory in those weeks separately instead of that one particular week,” shares Umrotkar.

 

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INOX Leisure Ltd sees 42% growth in total revenue

Profit After Tax up 327% to Rs 51 crore

e4m by exchange4media Staff
Published: Oct 23, 2019 6:06 PM  | 1 min read
INOX

INOX Leisure Ltd (INOX) has reported financials for the second quarter ending September 2019.

Its total revenue has risen to Rs 524 crore with a 42% growth from Rs 369 crore in the corresponding quarter in FY19. Its EBITDA has more than doubled to Rs 107 crore with a 121% growth, while the PAT stood at an impressive Rs 51 crore, up 327% from previous year’s second quarter.

Siddharth Jain, Director, INOX Group, said: “At INOX, setting new benchmarks is now a routine, thanks to our consistently sharp focus on luxury, service and technology and our uncompromised desire to offer our patrons, nothing but the latest and the best! We are delighted with our remarkable consistency on all parameters, and we are sure about maintaining the momentum and focus on innovativeness. Content once again proved that why we term it as the ‘hero’. Thanks to the creators of such spellbinding movies, which keep inviting our guests to our properties, and allowing us to pamper them with our signature hospitality. With the launch of Megaplex, we are delighted to further our endeavor of developing experience-driven cinema destinations of global standards, and we will continue to do so. On behalf of Team INOX, I assure all our stakeholders that we will continue to break barriers and exceed all expectations.”

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Hathway Cable & Datacom reports 100% subscription collection efficiency in Q2

The broadband subscriber base has increased from the previous quarter’s 840,000 to 860,000

e4m by exchange4media Staff
Published: Oct 18, 2019 11:17 AM  | 1 min read
Hathway

Hathway Cable and Datacom has reported subscription collection efficiency at 100%, and the broadband subscriber base has increased from previous quarter’s 840,000 to 860,000 in quarter ending September, as per media reports.

It has narrowed its consolidated net loss by 74% and the operating EBITDA has been reported 15% up to Rs 107.5 crore compared to Rs 93.1 crore a quarter ago.

The total income has dropped 2%, while the expenditure is down 6%.

In the financial results, the company has said the FTTH markets are leading growth in customer acquisition.

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ZEEL posts 7.4% YoY growth in total revenue for Q2 FY20

ZEEL's domestic advertising revenue has grown 1.4% YoY in Q2FY20

e4m by exchange4media Staff
Published: Oct 18, 2019 7:51 AM  | 2 min read
ZEEL

Zee Entertainment Enterprises Limited (ZEEL) has reported a consolidated revenue of Rs 2,122 crore for the second quarter of FY20, recording a growth of 7.4% on YoY basis.

The Earnings Before Interest, Tax, Depreciation and Amortization (EBITDA) was recorded as Rs 692.9 crore with an EBITDA margin of 32.7%. PAT for the quarter was Rs 413.2 crore. The Profit After Tax (PAT) for the quarter was Rs 413.2 million, with a growth of 6.9% YoY.

During the second quarter, ZEEL’s consolidated advertising revenue grew by 1.2% YoY to Rs 1,224.7 crore. The domestic advertising revenues grew by 1.4% YoY to Rs 1169 crore.

ZEEL has posted 26.8% YoY growth in Q2FY20 domestic subscription revenue. ZEEL’s consolidated subscription revenue grew by 19.0% to Rs 723.5 crore during the quarter.

ZEEL’s total expenditure in Q2FY20 stood at Rs 1429.1 crore, higher by 9.9% YoY compared to Q2FY19.

While ZEE5 recorded a peak DAU (Daily Active User) base of 8.9 million in September 2019, ZEE5 users watched an average of 120 minutes of content on the platform in the same month.
During Q2 FY20, the television network had an all-India viewership share of 18.4%.

During the quarter, ZEEL’s international business revenue was Rs 208.2 crore. The advertising and subscription revenues for international business declined by 4.0% YoY and 21.5% YoY, respectively.

Zee Music Company has registered 7.1 billion views on YouTube in Q2.

Punit Goenka, Managing Director and CEO, ZEEL, said, “I am pleased with the performance we have exhibited during the quarter. Our entertainment portfolio continues to grow from strength to strength across all formats and maintained its leading position. Our television network has emerged stronger post the implementation of tariff order on the back of a strong customer connect and brand pull of its channels. ZEE5 continued to gain traction across audience segments and markets, driven by its compelling content library and expanding list of partnerships across the digital eco-system. This strong operating performance allowed us to deliver industry leading growth in both advertising and subscription despite the tough macro-economic environment. Domestic subscription growth of 27% has reaffirmed the value proposition our television network has built over the years. The impact of tariff order has now largely settled down and has brought increased transparency along with improved monetization. Our domestic advertising revenue growth, though significantly lower than historical trend, is higher than the industry growth. We have witnessed an improvement in ad spends through the quarter and we believe that the onset of festive season along with measures taken by the government will help revive the consumption growth.”

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