Depois de quase um ano, o YouTube Red parece que vai ganhar um grande incremento, com a produção de pelo menos três séries originais.
” O YouTube Red já existe a algum tempo, mas continua esquecido em meio aos usuários de internet. Atualmente, o serviço pago do Red possibilita assistir a vídeos sem propaganda e anúncios, além de conteúdo exclusivo.
A ideia por trás destas novidades para o Red é simples: marcar território em meio ao crescimento de empresas como Netflix e afins. Além disso, aumentar sua base de assinantes também é primordial.
Outra ideia é criar uma ponte mais sólida entre youtubers famosos e seu público. A plataforma quer fisgar um público cativo, diferente do de outras meios de streaming.
Também está prevista a possibilidade do Red investir mais dinheiro em canais de sucesso dentro do próprio YouTube, criando vídeos melhor produzidos e mais conteúdos extras para clientes pagos.
Se vai funcionar ou não, é muito cedo para dizer. O importante é que a empresa se mexeu e agora busca conquistar mais um pedacinho da grande rede de usuários da internet.”
Netflix isn’t too worried about competition from Amazon’s video offering and is instead focusing on other tech competitors, including Snapchat and YouTube.
“Netflix has admitted that it still has “a lot of catch-up to do” if it wants to compete with digital competitors like Snapchat, and plans to gain market share by “winning affection” among consumers.
[…]“We think about it as share of screen time. And when people are doing other things with their screens, be they mobile or television screens, they’re not [watching] Netflix. So Snapchat, YouTube, Facebook video, all of that takes a lot of hours, probably much more so than Amazon,”
[…] “We’re closing in on 100 million members, but I remind everyone at Netflix that Facebook and YouTube have one billion daily actives. And so, in many parts, we are just so small compared to those other internet video firms and we have a lot of catch-up to do.”
Since the 1999 launch of Napster's music-sharing platform, the music industry has been in near-constant turmoil, with dipping revenues, lack of transparency,..
” Since the 1999 launch of Napster’s music-sharing platform, the music industry has been in near-constant turmoil, its timeline marked with dipping revenues, lack of transparency, piracy problems and feuds over the fair distribution of dividends.
Music companies hate streaming services. Streaming services hate file-sharing services. And, most of all, artists and content creators hate virtually everyone else for making huge sums off their toil and feeding them the crumbs.
[…] At its core, the blockchain is a distributed ledger that can validate and register transactions without the need for a central authority. No one owns the ledger — it’s spread across the nodes that constitute its network and is publicly available to everyone
[…] In the music industry, the blockchain could transform publishing, monetization and the relationship of artists with their communities of fans”
[…] a transparent system would generate much more revenue and create more opportunities”
Tweet to the Twitter bot, “LnH: The Band”—a newcomer in artificial intelligence music generation—and the bot will automatically compose melodies for you.
“Tweet nicely to the Twitter bot, “LnH: The Band”—a newcomer in artificial intelligence music generation—and the bot will automatically compose melodies for you. The AI-based band is “currently working on their first album,” according to LnH Music, but who will own the rights and royalties to the album? Or what aboutMubert, which is touted by its creators as the world’s first online music composer, and which “continuously produces music in real-time … based on the laws of musical theory, mathematics and creative experience?” In other words, if a computer program generates a creative work—be it a song, book or other creation—is there a copyright to be owned? If so, who owns and gets to collect on the copyright?”
Amazon launched Music Unlimited yesterday in a sector already dominated by Spotify, Apple Music and a handful of others. But there are some important differences. ___________________________________________ By Mark Mulligan of MIDiA Amazon’s announcement of its AYCE streaming service Amazon Music Unlimited should not come as a surprise to anyone whose…
“Amazon’s announcement of its AYCE streaming service Amazon Music Unlimited should not come as a surprise to anyone whose been keeping even half an eye on the digital music market. Amazon are the sleeping giant / dark horse (select your preferred descriptive cliché) of digital music. With 60 million Prime Memberships it has a bigger addressable base of subscribers than Spotify, and its 300 million credit card linked customer accounts surpasses most but falls well short of Apple’s 800 million. Nonetheless, Amazon is the last major force to play its streaming hand. However, what the two really interesting things about Amazon Music Unlimited are its ‘reverse pricing’ strategy and the move towards Zero UI music experiences.”
Netflix and Amazon invested more than $7.5 billion in TV programming last year, outpacing most major networks.
“You know the trend by now: Cable TV is losing its grip, internet TV is slowly eating it away. You can see it in the continuous decline in cable TV subscribers, and the streaming TV services cable companies are launching themselves
Now, as IHS notes, cable is far from dead. Cable channels have ramped up their original scripted offerings at the same time, and linear TV is still where most of the money is. Nevertheless, the largest players in the internet TV world are more than willing to drop some cash to get your eyeballs.”
New York office soon to open as 7digital exec comes on board
“The agreement will see FUGA handling catalog from artists including Afrika Bambaata, Ghostface Killah, Naughty by Nature and Method Man.
Pieter van Rijn, CEO, FUGA added: “We’re excited about Tommy Boy joining our tight knit family and honoured to be working with Tom, Rosie and their exceptional team.
“Demand for FUGA’s technology and distribution services has guided our decision to set up a dedicated Americas hub, in the capable hands of one of our directors, Dave Driessen. Anna Siegel has fantastic experience and knowledge of the American market, and will be a great asset to that end.”
Tom Silverman, Founder, Tommy Boy added: “It is increasingly important for independent record labels to remain competitive in this period of industry adjustment. FUGA is an important part of the operational setup Tommy Boy has developed to foster artist and catalogue growth.”
Benson Curb, Curb Records concluded: “We’re thrilled with FUGA’s technology platform and services and are very happy about their increased American presence”
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