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Are subscription services the future of fintech?
Subscription services are on the rise. During the pandemic, Americans have been spending more time at home and more money on the digital products that make navigating our new normal easier.
More than ever, Americans’ lives are aided by companies like Netflix, Instacart and, of course, Amazon, which reported record-setting earnings from its 2020 Prime Day savings event.
A recent survey even found that spending on subscription services had more than tripled since March, with one in three respondents saying they’d purchased a new online subscription while quarantining.
Now, a new concern lingers: Is the market getting oversaturated? The question doesn’t just apply to streaming services and food delivery companies — it’s an issue financial technology businesses can’t afford to ignore.
As subscriptions become an increasingly alluring business model, fintechs will be forced to consider whether this proven strategy is worth the risk.
Fintechs should take note of subscription services
In the CompareCards survey, two-thirds of respondents said they purchased a new streaming service mainly for entertainment. Still, that doesn’t mean there isn’t room for fintechs to carve out their own space.
Bradley Leimer, co-founder of the financial consulting firm Unconventional Ventures, said he’s certainly seen more fintechs exploring subscription models. As Leimer explained, the financial services industry may have not fully embraced the idea, but it’s “starting to take notice.” Leimer, who has more than 25 years of experience in the industry, believes fintechs can learn a lot from subscription services — provided they’re willing to look in the right place.
One major lesson? Transparency. Subscription services give companies an opportunity to be upfront about their fees, as well as their benefits.
“When we talk about subscriptions, the more clear and more transparent we are, the better,” Leimer said.
Acorns is an easy case study. The microinvesting app offers three subscription levels — lite, personal and family — each with a clearly explained list of features. For what it’s worth, the company added more than 2 million users between March 2019 and March 2020, according to Forbes.
Leimer said fintechs should also take note of the way subscription services collaborate. For example, he pointed out how Amazon users can add an HBO subscription to their Prime Video account, essentially “bundling” two subscriptions into one. Fintechs, Leimer said, could stand to take a page out of that playbook.
“There are a lot of ways to sort of skin that cat — for a fintech company to generate income and for a customer to get value on top of that,” Leimer said.
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HBO releases a wellness-focused AR app to promote ‘His Dark Materials’
With the second season of “His Dark Materials” premiering on HBO on November 16, the network has partnered with creative studio Framestore to create a new iOS and Apple Watch app called His Dark Materials: My Daemon.
The free app gives fans of the show (and the Philip Pullman novels on which the show is based) a chance to interact with their very own “daemons” — the magical animal companions that serve as an extension of characters’ souls.
“It’s a really great opportunity to give users and fans of the show the opportunity to have a daemon companion that’s personalized to them,” said Christine Cattano, Framestore’s global head of VR. “And what better way to do that than on your phone, which is a constant companion to us all?”
Users are assigned a daemon after taking a simple quiz consisting of questions like “day or night?” and “above or below?” They can then interact with the daemon by providing basic updates on their current state (like whether they’re feeling focused or distracted). Based on those updates, the daemon will recommend tasks tied to physical and emotional wellness, like going for a walk or a run, or watching a movie.
As users perform more wellness tasks, their daemon becomes happier and healthier. The app also allows users to go on “journeys,” where they perform a series of (again, wellness-focused) tasks that are tied to the activities of characters on the show.
Image Credits: HBO/Framestore
His Dark Materials: My Daemon will learn more about your activities by integrating with Apple Health and Spotify. And it incorporates augmented reality by allowing you to watch animations where you daemon interacts with the world around you. You’ll be able to share your companion interactions on social media, as well.
HBO’s vice president of program marketing Emily Giannusa noted that the original plan was for “large, real world activations.” After all, Framestore didn’t just work on visual effects for the actual “His Dark Materials” show. It also collaborated with HBO to develop “Beyond the Wall,” a virtual reality experience tied to “Game of Thrones,” as well as the Magic Leap GoT experience called “The Dead Must Die,” which were both available via installations in flagship AT&T stores. (AT&T owns HBO’s parent company WarnerMedia.)
But given the pandemic and the need for social distancing, HBO and Framestore knew they had to take a different approach, so Giannusa said they came up with something that could “delight [fans] while they’re at home” — and that should reach a much larger audience in the process.
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Bingie is an app for all your streaming recommendations and debates
If you’re overwhelmed trying to choose the next movie or TV show to watch on Netflix, Hulu, Disney+, HBO Max or any other streaming service, Bingie could be the app for you.
You may recall a previous wave of TV recommendation apps from a decade ago, like Viggle and GetGlue. Those apps have largely disappeared, with most of us relying on social media and group chats when we want to talk about TV with our friends.
However, Bingie’s co-founder and CEO Joey Lane pointed out that the world has changed since then, with people needing more guidance than ever when it comes to navigating the streaming world. (Obligatory plug: TechCrunch has a podcast devoted to that very proposition.)
“I think the time is unique,” Lane said. “The amount of content that’s out there makes it such a big challenge.”
He recalled surveying potential users at the beginning of the year and having them say, “Let me show you this notes section of my phone with 60 titles and no idea where to watch them [and] no one to tell me, ‘Dude, that was horrible’ or ‘That was really great.’ ”
Image Credits: Bingie
So with Bingie, you can search for different shows and movies, then share a recommendation link with a friend and start a chat about that specific title, with a direct link to wherever people can stream that title. And if your friend isn’t on Bingie already, the app allows you to send them a link via SMS.
The Bingie team created the app (launching today, and currently iOS-only) with digital agency Wonderful Collective, and Wonderful’s Matt Knox is a co-founder of the startup. He described the startup’s approach to content discovery as “the human algorithm,” where you’re getting recommendations from people you care about, rather than relying on Netflix’s technology.
Lane added that his hope is to make Bingie the home for all your conversations and arguments about this content.
“There’s no politics, there are no pictures of food,” he said. “Here, it’s all about sharing this really, really fun content that’s out there in TV shows and movies.”
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VCs and startups consider HaaS model for consumer devices
I’ve been following consumer audio electronics company Nura with great interest for a few years now — the Melbourne-based startup was one of the first companies I met with after starting with TechCrunch. At the time, its first prototype was a big mess of circuits and wires — the sort of thing you could never imagine shrunk down into a reasonably sized consumer device.
Nura managed, of course. And the final product looked and sounded great; hell, even the box was nice. If I’m lucky, I see a consumer hardware product once or twice a year that seems reasonably capable of disrupting an industry, and Nura’s custom sound profiles fit that bill. But the company was unique for another reason. A graduate of the HAX accelerator, the startup announced NuraNow roughly this time last year.
Hardware as a service (HaaS) has been a popular concept in the IT/enterprise space for some time, but it’s still fairly uncommon in the consumer category. For one thing: A hardware subscription presents a new paradigm for thinking about purchases. That is a big lift in a country like the U.S., which spent years weaning consumers off contract-based smartphones.
That Nura jumped at the chance shouldn’t be a big surprise. Backers HAX/SOSV have been proponents of the model for some time now. I’ve visited their Shenzhen offices a few times, and the topic of HaaS always seems to come up.
In a recent email exchange, General Partner Duncan Turner described HaaS as “a great way to keep in contact with your customers and up-sell them on new features. Most importantly, for startups, recurring revenue is critical for scaling a business with venture capital (and will help appeal to a broad set of investors). HaaS often has a low churn (as easier to put onto long-term contracts).”
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Players Ntwrk launches celebrity gaming channel backed by WME, Daylight and Stratton Sclavos
Emerging from the smoldering wreckage of Echo Fox and Vision Venture Partners, the investor Stratton Sclavos is rising again to launch a new esports-related venture — a gaming-focused digital network also backed by the WME talent agency and Daylight Holdings.
Tapping Daylight and WME’s roster of talent, Sclavos has created Players Ntwrk, a new gaming-focused production company that will look to compete with other upstarts angling to tap into esports and competitive gaming’s newly dominant place in the entertainment firmament.
Players Ntwrk will feature original programming, unscripted series, celebrity gameplay and live events tapping talent from music, traditional pro-sports and the esports gaming world.
Sclavos and the multifaceted talent manager and president of Daylight Holdings, Ben Curtis, dreamed up Players Ntwrk as a way to tie together disparate groups of athletes and entertainers around their shared love of gaming and entertainment. The network will initially leverage relationships with WME and Klutch Sports Group, the agency founded by LeBron James’ longtime manager, Rich Paul, to find talent for programming.
The network will launch on Tuesday at 5:00 pm Pacific for two hours of gameplay featuring the New Orleans Pelicans Guard/Forward Josh Hart and Sacramento Kings point guard De’Aaron Fox on the Players Ntwrk Twitch channel. Additional live streams will be broadcast Friday and Saturday, the company said.
Over the next 12 weeks the network will add live programming featuring all of its “First Squad” talent and experimenting with different gaming and unscripted formats. Ultimately, the network will produce between 12 and 15 hours of original programming per week by the end of the second quarter and will ramp up to 20 to 24 hours of programming per-week by the end of the year.
Initial programming is going to be devoted to charity fundraising, with proceeds going to designated charities based on direct audience donations, the company said.
Players Ntwrk’s First Squad talent roster includes:
- Professional athletes: De’Aaron Fox (Sacramento Kings), Josh Hart (New Orleans Pelicans), Jarvis Landry (Cleveland Browns) and Alvin Kamara (New Orleans Saints)
- Music and Entertainment: PARTYNEXTDOOR, Murda Beatz, producer Boi-1da, actor/former athlete Donovan Carter (Ballers)
- Creators/Streamers: KatGunn, Sodapoppin, Cash, Jesser, Jericho, Octane, Sigils, Sonii and DenkOps
Players Ntwrk joins companies like Venn, which are angling to gain a slice of the roughly 37.5 million monthly viewers that are expected to watch live streams on Twitch by the end of 2020, according to research done by eMarketer.
“The number of viewers and subscribers consuming gaming entertainment across YouTube and Twitch tops other entertainment services such as Netflix, HBO, Spotify and ESPN combined,” said Sclavos, in a statement. “Entertainment spectacle is trumping hardcore gaming competition. That kind of engagement makes it clear; gaming entertainment is the next pop culture phenomena. PLAYERS NTWRK is the only platform embracing and executing this new reality by creating original content with the most influential people who also happen to be fans themselves.”
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Disney debuts its streaming service in India for $20 a year
Disney+ has arrived in the land of Bollywood. The company on Friday (local time) rolled out its eponymous streaming service in India through Hotstar, a popular on-demand video streamer it picked up as part of the Fox deal.
To court users in India, the largest open entertainment market in Asia, Disney is charging users 1,499 Indian rupees (about $19.5) for a year, the most affordable plan in any of the more than a dozen markets where Disney+ is currently available.
Subscribers of the revamped streaming service, now called Disney+ Hotstar, will get access to Disney Originals in English as well as several local languages, live sporting events, dozens of TV channels, and thousands of movies and shows, including some sourced from HBO, Showtime, ABC and Fox that maintain syndication partnerships with the Indian streaming service. It also maintains partnership with Hooq — at least for now.
Unlike Disney+’s offering in the U.S. and other markets, in India, the service does not support 4K and streams content at nearly a tenth of their bitrate.
Disney+ Hotstar is also offering a cheaper yearly premium tier, priced at Rs 399 (about $5.3), that will offer subscribers access to movies, shows (but not those sourced from aforementioned U.S. networks and studios) and live sporting events; it won’t include Disney Originals.
Access to streaming of sporting events, especially of cricket matches, has helped five-year-old Hotstar become the most popular on-demand video streaming in India. During the cricket tournament Indian Premier League (IPL) last year, the service amassed more than 300 million monthly active users and more than 100 million daily active users.
It also holds the global record for most simultaneous views on a live stream, about 25 million — more than thrice its nearest competitor.
Prior to today’s launch, Hotstar offered its premium plans at 999 Indian rupees, and 365 Indian rupees. Existing subscribers won’t be affected by the price revision for the duration of their current subscription.
The service, run by Indian conglomerate Star India, offers access to about 80% of its catalog at no cost to users. The company monetizes these viewers through ads.
But in recent years, the company has begun to explore ways to turn its users into subscribers. Two years ago, Hotstar stopped offering cricket match streaming to non-paying users.
People familiar with the matter told TechCrunch that Hotstar has about 1.5 million paying subscribers, lower than what most industry firms estimate. But that figure is still higher than most of its competitors.
And there are many.
India’s on-demand video market
Disney+ will compete with more than three dozen international and local players in India, including Netflix, Amazon Prime Video, Times Internet’s MX Player (which has over 175 million monthly active users), Zee5, Apple TV+ and Alt Balaji, which has amassed over 27 million subscribers.
“The arrival of Disney+ in India is another case study in the globalization of entertainment in the digital era. For decades, the biggest companies in the world have expanded their reach into different markets. But it’s new, and actually quite profound, that everyone on earth receives the very same version of such a specific cultural product,” Matthew Ball, former head of strategic planning for Amazon Studios, told TechCrunch.
As in some other markets, including the U.S., streaming services have inked deals with telecom networks, TV vendors, cable TV operators and satellite TV players to extend their reach in India.
Most of these streaming services monetize their viewers by selling ads, and those who do charge have kept their premium plans below $3.
Why that figure? That’s the number most industry executives think — by spending years in the Indian market — that people in the country are willing to pay for viewing content. The average of how much an individual pays for cable TV, for instance, in India is also about $3.
“I think everyone is still trying to sort out the right pricing. It’s true the average Indian consumer is used to far lower prices and can’t afford more. However, we need to focus on the consumers likely to buy this, who have the requisite broadband access and income, etc,” said Ball.
Commuters drive along a road past a billboard in Mumbai advertising the Amazon Prime Video online series “The Forgotten Army”. (Photo by INDRANIL MUKHERJEE / AFP via Getty Images)
At stake is India’s booming on-demand video streaming market that, according to Boston Consulting Group, is estimated to grow to $5 billion from half a billion two years ago.
Hotstar’s hold on India could make it easier for Disney+, which has launched in more than a dozen markets and has amassed over 28 million subscribers.
As the country spends about two more weeks in lockdown that New Delhi ordered last month to curtail the spread of coronavirus, this could also compel many to give Disney+ a try.
On the flip side, if the lockdown is extended, the current season of IPL, which has been postponed until mid-April, might be further delayed or cancelled altogether. Either of those scenarios could hurt the reach of Hotstar, which sees a massive drop in its user base after the conclusion of each cricket tournament.
Disney initially planned to launch its streaming service in India on March 28, the day IPL was supposed to commence. But the company later postponed the launch by six days.
Industry executives told TechCrunch that if IPL is cancelled, it could severely hurt the financials of Hotstar, which clocks more than 50% of its revenue during the 50-odd days of the cricket season.
Some said Disney+’s premier catalog might not be relevant for most of Hotstar’s user base, who seem to care about this streaming service only during the cricket season or to catch up on Indian soap operas.
Hotstar has also received criticism for censoring more content on its platform than any other streaming service in India. Last month, Hotstar blocked from streaming on its platform an episode of “Last Week Tonight with John Oliver” that was critical of Indian Prime Minister Narendra Modi. YouTube made that segment available without any edits.
John Oliver slammed Hotstar for censoring the episode and noted that the streaming service had additionally edited out parts from his older episodes where he made fun of Disney. In 2017, Hotstar also edited out a segment from Oliver’s show in which he mocked Samsung for the Galaxy Note 7 fiasco. Hotstar and Samsung had a commercial partnership.
Hotstar did not respond to multiple requests for comment in 2017. Hotstar did not respond to multiple requests for comment on the recent controversy.
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Netflix earmarks $420M to fight Disney in India
Netflix continues to bet heavily on India, one of the world’s largest entertainment markets, where it competes with more than three dozen rivals, including Disney.
Reed Hastings, the chief executive of Netflix, said on Friday that the company is on track to spend 30 billion Indian rupees, or $420.5 million, on producing and licensing content in India this year and next.
“This year and next year, we plan to spend about Rs 3,000 crores developing and licensing content and you will start to see a lot of stuff hit the screens,” he said at a conference in New Delhi.
The rare revelation today has quickly become the talk of the town. “This is significantly higher than what we have invested in content over the past years,” an executive at one of the top five rival services told TechCrunch. Another industry source said that no streaming service in India is spending anything close to that figure on just content.
While it remains unclear exactly how much capital other streaming services are pouring into content, a recent KPMG report estimated that Hotstar was spending about $17 million on producing seven original shows this year, while Eros Now had pumped about $50 million into its India business to create 100 new original shows. (The report does not talk about licensing content expenses.)
Netflix, which entered India as part of its global expansion to more than 200 nations and territories in early 2016, has so far produced more than two dozen original shows and movies in the country and inked partnerships with a number of local studios, including actor Shah Rukh Khan’s Red Chillies Entertainment.
Hastings said several of the shows the company has produced in India, including A-listed cast thriller “Sacred Games” and animated show “Mightly Little Bheem,” have “traveled around the world.” More than 27 million households outside of India, said Hastings, have started to watch “Mighty Little Bheem,” a show aimed at children.
Netflix, which is expected to spend about $15 billion on content globally next year, has never shared the number of subscribers it has in India. (It has over 158 million subscribers globally.) But the company’s financials in the country, where it employs about 100 people, have improved in recent quarters. In the financial year that ended in March, the company posted revenue of $65 million and profit of about $720,000 for its India business.
The big, big, big Indian market
India has emerged as one of the last great growth markets for global technology and entertainment firms. About half of the nation’s 1.3 billion population is now online and the country’s on-demand video market is expected to grow to $5 billion in the next four years, according to Boston Consulting Group.
But the propensity — or the capacity — of most of these internet users to pay for a subscription service remains significantly low. Most services operating in India today generate the majority of their revenue from ads. And others, which rely on a recurring model, are making major changes to their offerings in the nation.
To broaden its reach in the nation, Netflix earlier this year introduced a new monthly price tier — $2.8 — that allows users in India to watch the streaming service in standard quality on a mobile device. (The company has since expanded this offering to Malaysia.)
Netflix competes with more than three dozen on-demand video streaming services in India. Chief among its competitors in the nation is Disney’s Hotstar. Hotstar’s content includes live TV channels, streaming of sports events and thousands of movies and shows, many syndicated from global networks and studios such as HBO and Showtime.
The ad-supported service offers more than 80% of its catalog at no charge to users and charges 999 Indian rupees ($14) a year for its premium tier.
Among the licensed content that Hotstar — or its operator Star India — owns in the country includes rights to stream a number of cricket tournaments. Cricket is incredibly popular in India and has helped Hotstar set global streaming records.
In May this year, Hotstar reported that more than 25 million people simultaneously watched a cricket match on the platform — a global record. The service, at the time, had more than 300 million monthly active users.
Commenting on the competition, Hastings said the next five to 10 years is going to be “the golden age of television” as “unbelievable and unrivaled levels of investment” go into producing content. “They are all investing here in India. We are seeing more content made than ever before. It’s a great export,” he added.
Disney+, the recently launched streaming service from the global content conglomerate, is set to be available in India and Southeast Asian markets next year through Hotstar, TechCrunch reported last month.
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Disney+ to launch in India, Southeast Asian markets next year
Disney plans to bring its on-demand video streaming service to India and some Southeast Asian markets as soon as the second half of next year, two sources familiar with the company’s plan told TechCrunch.
In India, the company plans to bring Disney+’s catalog to Hotstar, a popular video streaming service it owns, after the end of next year’s IPL cricket tournament in May, the people said.
Soon afterwards, the company plans to expand Hotstar with the Disney+ catalog to Indonesia and Malaysia, among other Southeast Asian nations, said those people on the condition of anonymity.
A spokesperson for Hotstar declined to comment.
Hotstar leads the Indian video streaming market. The service said it had more than 300 million monthly subscribers during the IPL cricket tournament and ICC World Cup earlier this year. More than 25 million users simultaneously streamed one of the matches, setting a new global record.
However, Hotstar’s monthly user base plummeted below 60 million in the weeks following the IPL tournament, according to people who have seen the internal analytics. The arrival of more originals from Disney on Hotstar, which already offers a number of Disney-owned titles in India, could help the service sustain users after cricket season.
The international expansion of Hotstar isn’t a surprise as it has entered the U.S., Canada and the U.K. in recent years. In an interview with TechCrunch earlier this year, Ipsita Dasgupta, president of Hotstar’s international operations, said so far the platform’s international strategy has been to enter markets with “high density of Indians.”
In an earnings call for the quarter that ended in June this year, Disney CEO Robert Iger hinted that the company, which snagged Indian entertainment conglomerate Star India as part of its $71.3 billion deal with 21st Century Fox, would bring Star India-operated Hotstar to Southeast Asian markets, though he did not offer a timeline.
Disney+, currently available in the U.S, Canada and the Netherlands, will expand to Australia and New Zealand next week, and the U.K., Germany, Italy, France and Spain on March 31, the company announced last week.
Price hike
Disney, which debuted its video streaming service in the U.S. this week and has already amassed more than 10 million subscribers, plans to raise the monthly subscription fee of Hotstar in India, where the service currently costs $14 a year, one of the two aforementioned people said.
A screenshot of Hotstar’s homepage
The price hike will happen toward the end of the first quarter next year, just ahead of commencement of next the IPL cricket tournament season, they said. The company has not decided exactly how much it intends to charge, but one of the people said that it could go as high as $30 a year.
In other Southeast Asian markets, the service is likely to cost above $30 a year, as well, both of the sources said. The prices have yet to be finalized, however, they said.
Even at those suggested price points, Disney would be able to undercut rivals on price. Until recently, Netflix charged at least $7 a month in India and other Southeast Asian markets. But this year, the on-demand streaming pioneer introduced a $2.8 monthly tier in India and $4 in Malaysia.
Hotstar offers a large library of local movies and titles syndicated from international cable networks and studios Showtime, HBO and ABC (also owned by Disney). In its current international markets, Hotstar’s catalog is limited to some local content and a large library of Indian titles.
In recent quarters, Hotstar has also set up an office in Tsinghua Science Park in Beijing, China and hired more than 60 engineers and researchers to expand its tech infrastructure to service more future users, according to job recruitment posts and other data sourced from LinkedIn.
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What lower Netflix pricing tells us about competing in India
At a conference in New Delhi early last year, Netflix CEO Reed Hastings was confronted with a question that his company has been asked many times over the years. Would he consider lowering the subscription cost in India?
It’s a tactic that most Silicon Valley companies have adapted to in the country over the years. Uber rides aren’t as costly in India as they are elsewhere. Spotify and Apple Music cost less than $2 per month to users in the country. YouTube Premium as well as subscriptions to U.S. news outlets such as WSJ and New York Times are also priced significantly lower compared to the prices they charge in their home turf.
Hastings had also come prepared: He acknowledged that the entertainment viewing industry in India is very different from other parts of the world. To be sure, much of the pay-TV in India is supported by ads and the access fee remains too low ($5). But that was not going to change how Netflix likes to roll, he said.
“We want to be sensitive to great stories and to fund those great stories by investing in local content,” he said. “So yes, our strategy is to build up the local content — and of course we have got the global content — and try to uplevel the industry,” he said, identifying movie-goers who spend about Rs 500 ($7.25) or more on tickets each month as Netflix’s potential customers.
Indian commuters walking below a poster of “Sacred Games”, an original show produced by Netflix (Image: INDRANIL MUKHERJEE/AFP/Getty Images)
Less than a year and a half later, Netflix has had a change of heart. The company today rolled out a lower-priced subscription plan in India, a first for the company. The monthly plan, which restricts usage of the service to mobile devices only, is priced at Rs 199 ($2.8) — a third of the least expensive plan in the U.S.
At a press conference in New Delhi today, Netflix executives said that the lower-priced subscription tier is aimed at expanding the reach of its service in the country. “We want to really broaden the audience for Netflix, want to make it more accessible, and we knew just how mobile-centric India has been,” said Ajay Arora, Director of Product Innovation at Netflix.
The move comes at a time when Netflix has raised its subscription prices in the U.S. by up to 18% and in the UK by up to 20%.
Netflix’s strategy shift in India illustrates a bigger challenge that Silicon Valley companies have been facing in the country for years. If you want to succeed in the country, either make most of your revenue from ads, or heavily subsidize your costs.
But whether finding users in India is a success is also debatable.
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Video platform Kaltura adds advanced analytics
You may not be familiar with Kaltura‘s name, but chances are you’ve used the company’s video platform at some point or another, given that it offers a variety of video services for enterprises, educational institutions and video-on-demand platforms, including HBO, Phillips, SAP, Stanford and others. Today, the company announced the launch of an advanced analytics platform for its enterprise and educational users.
This new platform, dubbed Kaltura Analytics for Admins, will provide its users with features like user-level reports. This may sound like a minor feature, because you probably don’t care about the exact details of a given user’s interactions with your video, but it will allow businesses to link this kind of behavior to other metrics. With this, you could measure the ROI of a given video by linking video watch time and sales, for example. This kind of granularity wasn’t possible with the company’s existing analytics systems. Companies and schools using the product will also get access to time-period comparisons to help admins identify trends, deeper technology and geolocation reports, as well as real-time analytics for live events.
“Video is a unique data type in that it has deep engagement indicators for measurement, both around video creation — what types of content are being created by whom, as well as around video consumption and engagement with content — what languages were selected for subtitles, what hot-spots were clicked upon in video,” said Michal Tsur, president and general manager of Enterprise and Learning at Kaltura. “Analytics is a very strategic area for our customers. Both for tech companies who are building on our VPaaS, as well as for large organizations and universities that use our video products for learning, communication, collaboration, knowledge management, marketing and sales.”
Tsur also tells me the company is looking at how to best use machine learning to give its customers even deeper insights into how people watch videos — and potentially even offer predictive analytics in the long run.
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