Digital Media: Rise of On-demand Content

December 2, 2015

Media consumption across the globe is increasingly happening in digital formats. The increase in the number of devices capable of supporting digital media along with increasing internet access speed, has provided consumers with an option to access the media content of his choice be it information, entertainment or social activity anytime, anywhere. Media consumption in the US has shown tremendous increase and has seen a significant jump from traditional media to new (digital) media. The rise of digital media players such as Netflix, Hulu, Amazon, Apple TV, Roku, and Boxee, etc. are challenging the traditionally maintained supremacy of the television as the main entertainment hub.

Spotlight

Media Group Int.

Media Group International is a proven media broadcast and communications technologies systems integrator, serving the media, telecommunications, security, education, hospitality and advertising industries in the Gulf region for more than 35 years. Formerly known as Salam Media Cast (SMC), the company joined GSSG Holdings in 2010, with offices in Qatar, UAE, Oman, Bahrain, Saudi Arabia and the UK.

OTHER ARTICLES
VIRTUALIZATION

Watch out Warzone and Fortnite: Ubisoft is coming after free-to-play

Article | May 17, 2021

Ubisoft announced last week that it is adding specific focus on free-to-play, alongside its AAA catalogue. In doing so, it is following a route that has been very successful for Activision with its Warzone strategy. Free-to-play games which draw audiences via big franchise names and monetise via in-game spending are going to be increasingly common among AAA publishers. The focus on in-game spending and particularly on the cosmetic, rather than the progress-related, parts will be the key revenue component. As games become less finite and more perpetual (consumer goal is less about ‘finishing them’ and more and ‘playing/spending time in them’), the opportunity to monetise needs that stem from this perpetual engagement (e.g. socialising or expression) starts to outweigh the mere monetisation of access to a packaged product. Simultaneously, free-to-play games also act as a powerful marketing driver for AAA releases as they come out, as well as streamability and word of mouth for the franchise.

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The Quest Is The Second Generation Of VR. You Charge It Up, Stick It On And It’s Great

Article | April 11, 2020

Ever since the adoption of VR gaming to the gaming market, it sure has seen upheavals—disruption by significant players in the industry like PSVR, Rift, and the Vive. PSVR has been the best-selling VR headset ever since its launch, selling over 5 million units on December 31st, 2020. While these numbers portray PSVR as successful, its hardware is lacking behind, and still, no sign of upgrades has been hinted by Sony. Speaking of which, a lot of gamers have long been waiting for a hardware upgrade or a hardware sequel—PSVR 2—from Sony, but very little or nothing has been said on this matter.

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MEDIA AND BROADCASTING

Games video creators can help attract new audiences to esports, if rights holders empower them to

Article | June 14, 2021

Those who have been following MIDiA’s games coverage for a while will have seen our posts about the growth problem of esports and suggestions around putting focus on the entertainment angle, rather than just on the sports angle, in order to most effectively capitalise on the opportunity. We have known for a while that esports viewers are only a subset of the broader games-related video viewing audience.We also know that esports audiences enjoy live entertainment in general, more so than many other entertainment consumer segments. MIDiA’s Q1 2021 consumer survey enabled us to dive deeper into how this opportunity can be approached. As a part of our upcoming Esports Viewer Dossier 2021 update, we have looked at the esports viewers, in comparison to consumers who say they watch games-related videos but not esports. The former represents the current state of play, while the latter represents esports’ potential audience growth opportunity.

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MEDIA AND BROADCASTING

UGC vs. Premium: Is the video valuation bubble big enough to burst?

Article | May 21, 2021

The market disconnect between the proliferation of independent content creators and the consolidation of brand IP into the hands of ever-fewer major players is growing increasingly stark. On the one hand, independent artists are the fastest-growing sector of the music market. User-generated content (UGC) has proved a huge success during lockdown for the likes of TikTok and Roblox. The traditional brand celebrity spokesperson has ceded ground to the influencer, and even they to the micro-influencer. Content proliferation has driven increasingly niche content to niche audiences, finding smaller fan bases to resonate with instead of attempting the now nigh-impossible cut-through to mainstream popularity. This is the paradox of small: the long tail accounts for a growing share of content consumption, but the fractional economics of on-demand environments means that those in the long tail earn too little to be economically sustainable. Access to the means of distribution may have been democratised, but access to meaningful rights income has not.

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Spotlight

Media Group Int.

Media Group International is a proven media broadcast and communications technologies systems integrator, serving the media, telecommunications, security, education, hospitality and advertising industries in the Gulf region for more than 35 years. Formerly known as Salam Media Cast (SMC), the company joined GSSG Holdings in 2010, with offices in Qatar, UAE, Oman, Bahrain, Saudi Arabia and the UK.

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