James Grant Hay

The latest Radio World eBook includes a great QA with Chris Gould of All In Media (part of Xperi Inc.) on how its Rapid solution fits into the metadata ecosystem. As Chris explains, Rapid enables broadcasters to "manage the creation, synchronization, and distribution of metadata associated with their audio services across broadcast and IP platforms." He further explains how "metadata is the key that ensures a listener has the best experience while consuming the station's content." For more insight read the article, starting on page 27: https://lnkd.in/ep7RFTnr #Radio #automotive #connectedcars #cars #broadcastradio #BroadcastIndustry #hybridradio

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Folks, If you wondering how to get your CI program started, then join Fouad Benyoub - his session will start shortly! You can also catch it later on via simulcast. join us free - https://vcapax.vfairs.com #competitiveintelligence

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Carefully tight-roped, leaving for interpretation around the word “tension.” https://lnkd.in/eqKrjFsQ

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Embracing the Streaming Revolution: Ad-Supported Tiers Drive Growth! The Australian entertainment subscription market continues its upward trajectory, growing by 5% to 52.3 million services in the past year. This demonstrates the insatiable demand for video, music, and gaming services in a rapidly evolving landscape. Within this dynamic market, the Subscription Video-on-demand (SVOD) sector stands out, with a robust growth rate of 4%, further cementing its significance in the digital entertainment realm. Netflix retains its throne as the leading streaming service, amassing 6.2 million subscriptions. Amazon Prime Video, Disney+, Stan, Paramount+, Binge, Kayo Sports, and YouTube Premium also hold their ground, catering to a diverse range of entertainment preferences. What's driving this growth in SVOD? The advent of more affordable ad-supported plans has propelled subscriber numbers, accounting for a remarkable 11% of total SVOD services. Consumers are embracing the opportunity to enjoy their favourite content while optimizing their budgets—and the trend doesn't stop there! A recent study reveals that nearly half of SVOD users are interested in ad-supported plans. This consumer receptiveness opens exciting opportunities for more engaging and cost-effective streaming experiences in the future. A vibrant content ecosystem and the allure of Australian-produced content have captivated audiences across SVOD platforms. Drama, documentaries, and comedy have emerged as the favoured categories, with users yearning for even more locally-driven content and storytelling. Innovation is critical, with projections indicating a potential reach of over 30 million SVOD subscriptions by 2028. Robust content pipelines, the emergence of new players like HBO Max, and the increasing availability of ad-supported plans will shape the next phase of the streaming revolution. Get ready for exciting times ahead as ad-supported tiers reshape the streaming landscape, paving the way for immersive video experiences and unprecedented content variety. #StreamingRevolution #SVODGrowth #AdSupportedTiers #NetflixDominance

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How do you stay ahead in an era where media narratives change by the minute? Explore how MediaTrack's state-of-the-art broadcast monitoring tools can keep you informed and ahead of the competition. Learn more: https://lnkd.in/gKKv_Kfs #MediaInnovation #BroadcastMonitoring #MediaTrack

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STREAMING VIDEO: Despite being a market where broadcasters are making great strides in moving to a streaming model, and with TV manufacturers such as SAMSUNG reporting that a high percentage of TVs sold in Australia are never connected to an antenna, Australian consumers wanting to migrate fully to IP still face some restrictions. Even whilst Hubbl's current marketing is promoting TV without cumbersome coax cables, those attempting to watch free TV in Australia without a digtal terrestrial antenna or satellite TV service may find their sports viewing options are somewhat limited. Anyone trying to watch AFL games on Channel 7 via IP, be that via a PC browser, via the 7Plus app on smart TVs, streaming devices or a Hubbl that's not connected to DTT are greeted instead with repeats of Border Patrol with this scrolling message: 'Sorry! We don't currently have the rights to stream the AFL on 7plus. To watch the game, tune in on broadcast via your aerial, or find more of your favourite shows on 7plus. Stay tuned - the AFL rights are coming, live and free, from season 2025'. Sometimes I think it is useful to flag and illustrate these occasional exceptions so we can better understand the challenges of legacy sports and other content rights agreements in a rapidly changing TV landscape. 7plus (seen via an IP connected Hubbl) June 2024 #7plus #afl #iptv #sportsrights #streamingvideo #samsung #australia

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The stage was set at the NAB Show 2024. Hundreds of products battled for supremacy in the ever-evolving streaming video arena. Tensions were high as the industry's elite judging panel meticulously evaluated each offering. Then, a true champion emerged from the fray. Vimond's VIA App Builder captivated the experts with a perfect fusion of power and elegance. Features that dazzled: - Lightning-fast development capabilities that make deploying streaming services across devices a mere formality. - An interface so intuitive even a novice could wield its might. - Unparalleled content management that monetises like never before. In an epic clash of innovation, the VIA App Builder reigned supreme – conquering the "Next TV" category to seize the coveted Best of Show honour. A thousand competitors stood in awe. This was more than just an award. It was a statement of Vimond's unwavering commitment to streamlining video streaming for the modern era. An undisputed mark of quality that will shatter industry conventions. The victory horn has sounded. All others have been put on notice. Brace yourselves for the VIA App Builder's continued dominance, as it leads content creators to a new era of broadcast supremacy. https://lnkd.in/gssvefKG

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Radio's Unexpected Digital Meltdown • The best radio digital operation has hit the wall – the evidence. • What this could mean to groups relying on digital to cover spot revenue losses. • How some groups are distorting digital buys to up their only growth category. • Without digital growth there is one serious alternative left. • Beware of the “bonus” from hell. https://lnkd.in/en6QSrTx

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KO: a micro-step away from connecting the dots between between OTA broadcast (zero latency, bandwidth offload, free premium TV) and CTV.

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For all intents and purposes, this puts The Roku Channel (not to be confused with the Roku platform or the Roku device) in the traditional "Cable TV" aggregator mode: A nice cluster of Free channels and services, with premium upgrade services on top. When the sports services sort out their issues (you know, some time in 2032 . . . ) I would see The Roku Channel putting those as premium upgrade services as well.

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𝗧𝗵𝗲 𝗜𝗻𝗲𝗳𝗳𝗶𝗰𝗶𝗲𝗻𝗰𝘆 𝗢𝗳 𝗦𝗲𝗹𝗹𝗶𝗻𝗴 𝗟𝗶𝗻𝗲𝗮𝗿 𝗮𝗻𝗱 𝗦𝘁𝗿𝗲𝗮𝗺𝗶𝗻𝗴 𝗧𝗩 𝗦𝗲𝗽𝗮𝗿𝗮𝘁𝗲𝗹𝘆 In the ever-evolving landscape of television, the traditional boundaries between linear and streaming TV are becoming increasingly blurred. Yet, the industry continues to treat them as distinct entities, selling ad inventory separately for each platform. Some brands and agencies even lump streaming in with digital video and buy them that way.  This approach is not only inefficient but also fails to align with the way consumers actually view content. A Unified Approach: Premium vs. Non-Premium Inventory Consumers don’t differentiate between “linear” and “streaming” or “TV” and “digital.” To them, it’s all just “TV.” Given this, it’s time to rethink how we sell advertising inventory so that it aligns with the way viewers see it. Instead of the outdated dichotomy of linear versus streaming, we need to categorize inventory into “premium” and “non-premium” across both platforms. This is not as crazy as it sounds—it has been proven to increase CPMs and thus profitability. But first, a little on how it would work. “Premium inventory” e.g., top-rated originals, library hits and prime-time slots, would continue to be sold via direct sales. This method ensures publishers will continue to get top dollar for their best content, maintaining the profitability of their premium offerings. Direct sales offer a level of control and personalization that is crucial for high-profile offerings, whether those offerings are on linear or on streaming. The latter is key for two reasons: more and more viewers are becoming “streaming first” viewers, even if they still do keep a linear subscription, and more and more streaming services are rolling out originals and picking up sports rights. The combination means there is more premium content on streaming and that more people are watching it. All the more reason to sell it directly. Non-premium inventory, OTOH, is better suited for programmatic – or at least automated - sales. Automated buying excels at targeting specific audiences, making it an ideal solution for monetizing non-premium content. By leveraging data and automation, programmatic sales can connect niche audiences with the advertisers who are looking for them, thus maximizing value, fill rates, and utilization. Automated audience-based trading has long been the go-to for streaming inventory, but it’s time for linear services to adopt it too, at least for their non-premium inventory. This is not as painful as it sounds. Spot buying is notoriously inefficient for low-value inventory and uses up needless resources. Automating it has been proven to drive up profitability while also lowering trading costs. And by “proven” I mean “proven with real-world examples in markets outside the US.” READ THE REST ON TVREV https://lnkd.in/erJDT_3n

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TPG is intensifying its battle with bigger rival Telstra, muscling into the content space via a partnership with Foxtel’s new streaming platform Hubbl. Hubbl is Foxtel’s new entertainment operating system that aims to simplify the streaming experience. It aggregates various global and local streaming services, including Netflix, Disney+, Prime Video, Apple TV+, and local favourites like Kayo Sports and Stan. Backed by global leaders like Comcast and Sky, Hubbl is designed to evolve continuously with regular software updates, ensuring it stays ahead of technological advancements without requiring new hardware purchases. Hubbl is available as a standalone device or integrated within a 4K smart TV called Hubbl Glass. The Hubbl box is priced at A$99, while the Hubbl Glass ranges from A$1,595 to A$1,995. These devices aim to streamline the viewing experience by reducing the need for multiple subscriptions and devices​. Foxtel’s Hubbl represents a significant step in the ongoing streaming wars, particularly in the Australian market. By consolidating multiple streaming services into a single platform, Hubbl addresses a key consumer pain point—fragmentation and the complexity of managing various subscriptions. This strategy is likely to appeal to consumers seeking convenience and cost savings. The integration of Hubbl with TPG’s offerings could provide a competitive edge against Telstra, leveraging TPG’s customer base to drive the adoption of Hubbl. Moreover, the pricing strategy and the dual approach of offering both a standalone device and an integrated smart TV cater to different market segments, potentially increasing the platform’s reach. #streamingwars #foxtelhubbl #tpgpartnership #digitalentertainment #contentconsolidation #streamingservices #entertainmenttechnology #australianmedia #telstracompetition #futureoftv #australia #mediaandentertainment #streamingwars #contentpartnerships #telecom

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From Telecom IVR and WAP Portals to FAST: The Glow-Up of #Content and Distribution ⏩ Over the past decade, I’ve seen how content distribution has dramatically transformed, starting from the early days of Telecom IVR and WAP portals to the rise of OTT and now, the #BIGFAST (Free Ad-Supported Streaming TV) platforms. What began as simple content on mobile phones has evolved into a world where viewers have smart choices at their fingertips, accessing a vast array of channels and genres on connected TVs. FAST platforms are truly changing the game, offering free, ad-supported content that’s accessible to everyone. It’s no longer just about watching TV—it’s about choosing what, when, and how to watch. This shift is paving the way for #GenAlpha, who is already ready for a world where FAST is the norm :D For content creators and platforms, the potential is huge. But with great potential comes the need for seamless content distribution. That’s where Amagi Corporation steps in. We’ve already launched the first-ever marketplace(#AmagiConnect) designed specifically for FAST, making it easier than ever to launch and scale content on OTT, Telco, and Smart TV platforms. 🚀 But that’s not all—we’re just getting started. Stay tuned as we roll out even more initiatives aimed at simplifying the FAST experience for content owners and platform partners. Exciting things are on the horizon! #ContentDistribution #FASTPlatforms #StreamingEvolution #DigitalTransformation #AmagiConnect #MediaInnovation #TVRevolution

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📺 The Battle for Your TV Screen: The OS Wars! TVREV's latest report dives deep into the high-stakes world of smart TV operating systems. As streaming becomes dominant, control over the TV's interface is the next frontier. The stakes are HIGH – controlling the OS means dictating viewer interaction, gatekeeping content, reaping variable kinds of ad revenues, and harnessing viewer data. The OS Wars are being fought globally by three main groups: 1. Home Electronics Manufacturers (Samsung, LG, VIZIO) 2. Internet Giants (Google, Amazon, Apple) 3. Independent & local TV OS Makers (ZEASN's whaleOS, Xperi's TiVO) According to the report, what makes a great TV OS? Some 🔑 factors: 🔹 Responsiveness & speed 🔹 Natural language voice search 🔹 Personalized content discovery 🔹 Integration with smart home features 🔹 Innovative ad formats 👑 One thing is for sure: the company that can best navigate the complex landscape of content, data, and user experience will have a major advantage in the living room of the future. Download The Report 👉🏻 https://lnkd.in/ek8yTYAT #TVOSWars #StreamingWars #ConnectedTV #SmartTV #IPTV #Broadcast #Television

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Reclaiming FAST Channel Revenues – The future of television is bright and brimming with potential, thanks to the innovative model of ad-funded streaming TV. This modern approach to broadcasting, known as Free Ad-Supported Television (FAST), is revolutionizing the industry by offering viewers high-quality content at no cost. The key to the success of FAST lies in its ability to bypass the traditional, often inefficient, programmatic ad-trading systems. #broadcasting #broadcast #fastchannels #ott #streaming https://lnkd.in/eT7-2b5u

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Warner Bros. Discovery confirms Max launch in 7 Asian markets in November 2024. Max streaming service will be available in 72 markets worldwide, with more to come in 2025. Company expands presence in Southeast Asia. Warner Bros. Discovery (WBD) has revealed the long-awaited launch date for Max in a number of markets across Asia. The media company announced on Tuesday that the streaming service will go live in Indonesia, Malaysia, Philippines, Singapore, Thailand, Taiwan and Hong Kong on November 19th. Warner Bros. Discovery said the platform will be offered in a range of plans. These include a lower-cost mobile-only tier targeted at Southeast Asia. Pricing details will vary by country and operator. WBD has long operated a standalone HBO Go streaming service in parts of East Asia, but the Max offering will replace that platform with both superior technology and a larger content library. Following earlier launches in North America, Latin America and Europe, the Southeast Asian launch brings Max's reach to 72 markets. Asia Pacific is the last major region where the service is not yet fully available. That's why WBD has big plans for the Asian market in 2025. The Asia Pacific video streaming market size was valued at USD 27.31 billion in 2023 and is expected to reach USD 113.05 billion by 2032, growing at a CAGR of 22.5% during the forecast period. The Asia Pacific video streaming market is growing at a faster rate due to factors such as increasing internet connectivity, mobile phones, and the need for video content. The market is highly concentrated, with major players such as Tencent Holdings Limited, Google LLC and Netflix Inc. accounting for a significant market share. Regulations aimed at protecting consumer rights and privacy may affect market dynamics, while the threat of product substitution and the level of mergers and acquisitions (M&A) remain key factors shaping the competitive landscape. However, there are also challenges and restraints such as piracy and copyright infringement, high bandwidth and data consumption requirements, competition from traditional media channels, and regulatory uncertainties and privacy concerns. WBD is taking a big step that could bring them a lot of new viewers and subscribers. To compete with players like Netflix or Apple TV, they need to be proactive and forward-thinking. The Asian market is huge and can be very profitable, so there is no time to waste if they want to win this game. Let me know what you think in the comments. You can find a link to the full article in the first comment under this post. Follow my profile to stay up-to-date when it comes to industry news, technology updates, and market analysis. #SzymonKarbowski #StreamVX #videostreaming #WarnerBrosDiscovery #Max #AsianMarkets #AsiaPacificMarket

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The cloud offers many advantages and components for producing large media workloads but feature parity with on-prem technology is still maturing, says StreamGuys’ Kiriki Delany. https://lnkd.in/dYWn6aRf #Audio #Radio #CDN #Streaming #Cloud #StreamGuys #Streaming

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Want to know the latest results from GfK - An NIQ Company Survey 4? Australian commercial radio continues to captivate an audience of 12.4 million listeners, with streaming and in-car listening on the rise. 📈 🎧 Radio streaming, in particular, has seen a significant 4.5% increase, now boasting 3.4 million listeners. 🚗 In-car listening has also surged by 5.1% year-on-year, highlighting radio's enduring relevance as a companion during daily commutes. 🍽️ Breakfast radio, known for kickstarting the day, has added 290,000 listeners, marking a 3.4% rise in its audience. Click the link for the full results and discover why radio continues to thrive in an ever-changing media landscape. 👇 https://lnkd.in/gtKtRe9F

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