Media
Auto Added by WPeMatico
Auto Added by WPeMatico
PUBG Mobile, the sleeper hit title that was banned in India two months ago over cybersecurity concerns, is plotting to make a return in the world’s second largest internet market, two sources familiar with the matter told TechCrunch.
The South Korean firm has engaged with global cloud service providers in recent weeks to store Indian users’ data within the country to allay New Delhi’s concerns about user data residency and security, one of the sources said.
The gaming giant has privately informed some high-profile streamers in the country that it expects to resume the service in India before the end of this year, the other source said. Both the sources requested anonymity as they are not authorized to speak to the press. PUBG Corporation did not respond to a request for comment Thursday.
The company could make an announcement about its future plans for India as soon as this week. It also plans to run a marketing campaign in the country during the festival of Diwali next week, one of the sources said.
In recent weeks, PUBG has also engaged with a number of local firms, including SoftBank-backed Paytm and telecom giant Airtel, to explore whether they would be interested in publishing the popular mobile game in the country, an industry executive said. A Paytm spokesperson declined to comment.
Chinese giant Tencent initially published PUBG Mobile apps in India. After New Delhi banned PUBG Mobile, the gaming firm cut publishing ties with Tencent in the country. Prior to the ban, PUBG Mobile’s content was hosted on Tencent Cloud.
Late last month, two months after the ban order, PUBG Mobile terminated its service for Indian users. “Protecting user data has always been a top priority and we have always complied with applicable data protection laws and regulations in India. All users’ gameplay information is processed in a transparent manner as disclosed in our privacy policy,” it said at the time.
With more than 50 million monthly active users in India, PUBG Mobile was by far the most popular mobile game in the country before it was banned. It helped establish an entire ecosystem of esports organisations and even a cottage industry of streamers that made the most of its spectator sport-friendly gameplay, said Rishi Alwani, a long-time analyst of Indian gaming market and publisher of news outlet The Mako Reactor.
PUBG Mobile’s return, however, could complicate matters for several industry players, including some that are currently building similar games to cash in on its absence and their conversations with venture capital firms over ongoing financing rounds.
It would also suggest that more than 200 other Chinese apps that India has banned in recent months could hope to allay New Delhi’s concerns by making some changes to where they store their users’ data. (That was also the understanding between TikTok and Reliance when they engaged in investment opportunities earlier this year.)
Powered by WPeMatico
Vimeo has raised $150 million in new equity funding, announced in conjunction with the third quarter earnings of its parent company IAC.
In a letter to shareholders, IAC CEO Joey Levin said the company has “begun contemplating spinning Vimeo off to our shareholders.”
“Given Vimeo’s success, and investor adulation for the Software-as-a-Service (SaaS) category generally, we expect Vimeo’s access to capital inside of IAC will be much more expensive than access to capital outside of IAC, and that capital will be helpful to enable Vimeo to achieve its highest ambitions,” Levin continued, adding, “We just tested Vimeo’s ability to access capital with a small private fundraise to bolster Vimeo’s balance sheet and to repay capital to IAC.”
Over the summer, Match Group (which owns a variety of dating services, including Tinder) completed its separation from IAC, with IAC’s ownership distributed to IAC shareholders.
Vimeo, meanwhile, has shifted its focus over the past couple years — instead of trying to compete with YouTube as a consumer video destination, it sells video tools to enterprises and other businesses. For example, it recently launched a free video messaging product called Vimeo Record.
The company says it has 1.5 million paying subscribers and more than 3,500 enterprise clients, including Amazon, Starbucks, Deloitte, Zendesk, Rite Aid and Siemens.
The new funding comes from Thrive Capital and GIC. According to the earnings report, in Q3, Vimeo grew revenue by 44% year-over-year, to $75.1 million. And it had its first quarter of positive EBITDA — $3.4 million.
“Our goal is to radically simplify how businesses create and share video, with tools that are far more intuitive and cost-effective than they’ve been historically,” said Vimeo CEO Anjali Sud in a statement. “We’re energized to access additional capital to pursue this enormous opportunity with the full focus and scale of the Vimeo platform.”
Powered by WPeMatico
Zynga’s revenue grew to a record $503 million (up 46% year-over-year) in the third quarter, with bookings of $628 million (up 59%), according to its latest earnings report. It also had its best mobile daily active user (31 million) and monthly active user (83 million) numbers in six years.
But things weren’t all rosy: The company also reported a net loss of $122 million. That compares to net income of $230 million during the same period last year, though that was boosted by the sale of Zynga’s building in San Francisco. As of 4:44 p.m. Eastern, shares were down 4.9% in after-hours trading.
Before earnings were released, CEO Frank Gibeau told me that although growth has become more normal after the pandemic caused “that huge jump” in usage during the late spring and early summer, “Engagement remains elevated and monetization remains elevated. Folks that discovered mobile gaming for the first time returned to it and kept doing it.”
The company predicted further growth in Q4, with revenue up 55% to $570 million. Gibeau pointed to a “digital holiday” that could have big benefit in mobile gaming, with new mobile on the market, plus social distancing and lockdowns resulting in the fact that “a lot of folks aren’t going to be able to go to stores and buy gifts.”
During the third quarter, Zynga also closed its acquisition of Istanbul-based hyper-casual game publisher Rollic. Gibeau said the team is “fully integrated at this point from an operating standpoint,” but the company won’t start including Rollic in its user numbers until the next quarter.
“We are well-positioned for further M&A,” he added.
Powered by WPeMatico
Instagram is adapting to the way creators have been using its service during the coronavirus pandemic. With individuals and businesses now limited from hosting in-person events — like concerts, classes, meetups, and more — users have turned to Instagram to live stream instead. Today, the company says it’s significantly expanding the time limit for these streams, from 1 hour to now 4 hours for all users worldwide.
The change, the company explains, is meant to help those who’ve had to pivot to virtual events, like yoga and fitness instructors, teachers, musicians, artists and activists, among others. During the height of government lockdowns in the U.S., Instagram Live became a place for people to gather as DJ’s hosted live sets, artists played their music for fans, celebs hosted live talk shows, workout enthusiasts joined live classes, and more. Live usage had then jumped 70% over pre-coronavirus numbers in the U.S. as people connected online.
Many of these Instagram Live creators had wanted to extend their sessions beyond the 60 minute time limit without an interruption.
The change puts Instagram on par with the time limits offered by Facebook for live streams from mobile devices, which is also 4 hours. (If live streaming from a desktop computer or via an API, the Facebook time limit expands to 8 hours.)
While the longer time limit is opening up to all creators worldwide starting today, Instagram says the creator’s account has to be “good standing” in order to take advantage. That means the account can’t have a history of either intellectual property or policy violations.
Related to this change, Instagram will also update the “Live Now” section in IGTV and at the end of live streams to help direct users to more live content.
Instagram also today pre-announced another feature which has yet to arrive.
It says that it will “soon” add an option that will allow creators to archive their live streams for up to 30 days.
Image Credits: Instagram
Before, users could archive their Feed posts or their Stories to a private archive, but the only way to save a live stream was to publish it to IGTV immediately after the stream, through a feature introduced in May.
The company says the new option to archive live broadcasts will mirror the existing archive experience for Stories and Feed Posts.
The difference is that archived live videos will be permanently deleted after 30 days.
But up until that time, the creator has the option to return to the video to save it or download it. This would allow the creator to publish the video on other social platforms, like Facebook or YouTube, or even trim out key parts for short-form video platforms, like TikTok. The Archive feature also means if a creator’s Live stream crashes for some reason — or if the creator forgot to download it in the moment — it can still be downloaded later on.
The news follows another recent Instagram update which introduced a new way for creators to monetize their Live streams.
The company earlier this month began rolling out badges in Instagram Live to an initial group of over 50,000 creators who will test the feature by selling badges at price points of $0.99, $1.99, or $4.99. These badges help fans’ comments stand out in busy streams, allow fans to support a favorite creator, and places the fan’s name on the creator’s list of badge holders.
Powered by WPeMatico
I wrote a call to action for the tech community to dive deeper into the future of innovation this coming decade. Where are some of the hot spots going to come from though? Below, I have assembled a very loose set of five clusters broadly categorized into “wellness,” “climate,” “data society,” “creativity,” and “fundamentals” that offer some scaffolding for understanding what’s about to come this decade and how and any entrepreneur — really, any citizen — can start to build progress.
Take these ideas as inspirational — they aren’t limits, nor should the borders of these categories be seen as anything but liminal. I know in the daily cavalcade of news, it can be hard to feel inspired by the future. But do be! There is so much more coming this decade, that we may look back at the 2010s as the dark ages of innovation.
Photo by Ian Forsyth/Getty Images
First, there is a cluster around “wellness.” That sometimes gets elided to just “mental health” and reduced to a prescription bottle, but this area really encompasses so much more than that. How do we build humanistic societies with strong social fabrics that enliven, enrich, and build meaning for our lives?
Yes, we’ve seen strong demand for wellness apps like Calm and Headspace. Exercise hardware like Peloton, Mirror and others along with platforms particularly around group classes have been a huge mainstay during this pandemic era. Mental health treatment itself is getting a makeover as startups reinvigorate the in-person therapist and psychiatrist visit as well as think about new models of delivering mental health services virtually. Even LSD is starting to make headways as a potentially useful tool, and psychedelics are going to be an interesting area to watch in the coming years.
All those areas still are ripe for innovation, yet, how do we go deeper and start to address the root causes of anguish and despair?
Take work, for instance. How do we make workers feel more secure and meaningful in a remote world where gig work makes up an increasing fraction of all employment? The precariousness of labor has a direct effect on wellness, and it’s going to take a much greater leap than a reclassification battle like in California this election cycle to make work “work” for all people. What can we do around stability of pay whether from employment or maybe programs like universal basic income to give people a sense of ownership over their destinies?
How do we start to create the bonds of neighborhoods and communities that hold people together and offer solace in times of despair? Part of this is improving the average town and making it more human-centric (that’s like 20 startups right there), but it also includes constructing more vibrant and expressive virtual worlds where we can find online neighborhoods that are safer than the dumpster fires we find on the web today.
Then there’s the health system in general. While America deservedly receives huge criticism for its overpriced and under-insured system, health systems worldwide face incredible pressures to improve efficiency. How do we make care better, more personalized, and more open? How do we reduce costs while ensuring that care is accurate and delivered expeditiously? There is huge work to be done to make health a key component.
To increase wellness for individuals, we need to increase wellness for our societies, building systems that are designed for the humans that inhabit them. Flexibility with security, engagement with individuality, expression with support. Our existing systems are already antiquated — and we haven’t come up with anything better.
This cluster is about asking “How does the world make us feel?”
Image Credits: Jacobs Stock Photography (opens in a new window) / Getty Images
The second cluster has to do broadly with the Earth, climate, crisis, and resilience. Climate change is real and not going away, and quite literally billions of people are going to feel its effects in the coming decades. Rising tides, massive hurricanes, power outages, wildfires, droughts and more are going to become part of our daily news vernacular.
Resiliency is not something that any one technology can offer, but innovation has huge potential to allow more of our systems to adapt to the changing nature of our world today.
Powered by WPeMatico
Netflix announced this morning that it’s partnering with Ubisoft to adapt the game publisher’s “Assassin’s Creed” franchise into a live action series.
The franchise jumps around in history, telling the story of a secret society of assassins with “genetic memory” and their centuries-long battle the knights templar. It has sold 155 million games worldwide and was also turned into a nearly incomprehensible 2016 film starring Michael Fassbender and Marion Cotillard, which underperformed at the box office.
The companies say that they’re currently looking for a showrunner. Jason Altman and Danielle Kreinik of Ubisoft’s film and television division will serve as executive producers. (In addition to working on adaptations of Ubisoft’s intellectual property, the publisher is also involved in the Apple TV+ industry comedy “Mythic Quest.”)
“We’re excited to partner with Ubisoft and bring to life the rich, multilayered storytelling that Assassin’s Creed is beloved for,” said Netflix’s vice president of original series Peter Friedlander in a statement. “From its breathtaking historical worlds and massive global appeal as one of the best selling video game franchises of all time, we are committed to carefully crafting epic and thrilling entertainment based on this distinct IP and provide a deeper dive for fans and our members around the world to enjoy.”
It sounds like there could be follow-up shows as well, with the announcement saying that Netflix and Ubisoft will “tap into the iconic video game’s trove of dynamic stories with global mass appeal for adaptations of live action, animated, and anime series.”
Netflix recently placed an eight-episode order for “Resident Evil,” another video game franchise that was previously adapted for the big screen. And it also had a big hit with its adaptation of “The Witcher,” which is based on a fantasy book series that was popularized via video games.
Powered by WPeMatico
Virtual meetings are a fundamental part of how we interact with each other these days, but even when (if!?) we find better ways to mitigate the effects of COVID-19, many think that they will be here to stay. That means there is an opportunity out there to improve how they work — because let’s face it, Zoom Fatigue is real and I for one am not super excited anymore to be a part of your Team.
Mmhmm, the video presentation startup from former Evernote CEO Phil Libin with ambitions to change the conversation (literally and figuratively) about what we can do with the medium — its first efforts have included things like the ability to manipulate presentation material around your video in real time to mimic newscasts — is today announcing an acquisition as it continues to home in on a wider launch of its product, currently in a closed beta.
It has acquired Memix, an outfit out of San Francisco that has built a series of filters you can apply to videos — either pre-recorded or streaming — to change the lighting, details in the background, or across the whole of the screen, and an app that works across various video platforms to apply those filters.
Like mmhmm, Memix is today focused on building tools that you use on existing video platforms — not building a video player itself. Memix today comes in the form of a virtual camera, accessible via Windows apps for Zoom, WebEx and Microsoft Teams; or web apps like Facebook Messenger, Houseparty and others that run on Chrome, Edge and Firefox.
Libin said in an interview that the plan will be to keep that virtual camera operating as is while it works on integrating the filters and Memix’s technology into mmhmm, while also laying the groundwork for building more on top of the platform.
Libin’s view is that while there are already a lot of video products and users in the market today, we are just at the start of it all, with technology and our expectations changing rapidly. We are shifting, he said, from wanting to reproduce existing experiences (like meetings) to creating completely new ones that might actually be better.
“There is a profound change in the world that we are just at the beginning of,” he said in an interview. “The main thing is that everything is hybrid. If you imagine all the experiences we can have, from in-person to online, or recorded to live, up to now almost everything in life fit neatly into one of those quadrants. The boundaries were fixed. Now all these boundaries have melted away we can rebuild every experience to be natively hybrid. This is a monumental change.”
That is a concept that the Memix founders have not just been thinking about, but also building the software to make it a reality.
“There is a lot to do,” said Pol Jeremias-Vila, one of the co-founders. “One of our ideas was to try to provide people who do streaming professionally an alternative to the really complicated set-ups you currently use,” which can involve expensive cameras, lights, microphones, stands and more. “Can we bring that to a user just with a couple of clicks? What can be done to put the same kind of tech you get with all that hardware into the hands of a massive audience?”
Memix’s team of two — co-founders Inigo Quilez and Pol Jeremias-Vila, Spaniards who met not in Spain but the Bay Area — are not coming on board full-time, but they will be helping with the transition and integration of the tech.
Libin said that he first became aware of Quilez from a YouTube video he’d posted on “The principles of painting with maths”, but that doesn’t give a lot away about the two co-founders. They are in reality graphic engineering whizzes, with Jeremias-Vila currently the lead graphics software engineer at Pixar, and Quilez until last year a product manager and lead engineer at Facebook, where he created, among other things, the Quill VR animation and production tool for Oculus.
Because working the kind of hours that people put in at tech companies wasn’t quite enough time to work on graphics applications, the pair started another effort called Beauty Pi (not to be confused with Beauty Pie), which has become a home for various collaborations between the two that had nothing to do with their day jobs. Memix had been bootstrapped by the pair as a project built out of that. Other efforts have included Shadertoy, a community and platform for creating Shaders (a computer program created to shade in 3D scenes).
That background of Memix points to an interesting opportunity in the world of video right now. In part because of all the focus (sorry not sorry!) on video right now as a medium because of our current pandemic circumstances, but also because of the advances in broadband, devices, apps and video technology, we’re seeing a huge proliferation of startups building interesting variations and improvements on the basic concept of video streaming.
Just in the area of videoconferencing alone, some of the hopefuls have included Headroom, which launched the other week with a really interesting AI-based approach to helping its users get more meaningful notes from meetings, and using computer vision to help presenters “read the room” better by detecting if people are getting bored, annoyed and more.
Vowel is also bringing a new set of tools not just to annotate meetings and their corresponding transcriptions in a better way, but to then be able to search across all your sessions to follow up items and dig into what people said over multiple events.
And Descript, which originally built a tool to edit audio tracks, earlier this week launched a video component, letting users edit visuals and what you say in those moving pictures, by cutting, pasting and rewriting a word-based document transcribing the sound from that video. All of these have obvious B2B angles, like mmhmm, and they are just the tip of the iceberg.
Indeed, the huge amount of IP out there is interesting in itself. Yet the jury is still out on where all of it would best live and thrive as the space continues to evolve, with more defined business models (and leading companies) only now emerging.
That presents an interesting opportunity not just for the biggies like Zoom, Google and Microsoft, but also players who are building entirely new platforms from the ground up.
Mmhmm is a notable company in that context. Not only does it have the reputation and inspiration of Libin behind it — a force powerful enough that even his foray into the ill-fated world of chatbots got headlines — but it’s also backed by the likes of Sequoia, which led a $31 million round earlier this month.
Libin said he doesn’t like to think of his startup as a consolidator, or the industry in a consolidation play, as that implies a degree of maturity in an area that he still feels is just getting started.
“We’re looking at this not so much as consolidation, which to me means market share,” he said. “Our main criteria is that we wanted to work with teams that we are in love with.”
Powered by WPeMatico
RepTrak and Onclusive are announcing a partnership that Onclusive CEO Dan Beltramo said will combine corporate reputation tracking and PR analytics for the first time.
RepTrak, founded in 2004, helps businesses measure their reputations (and their competitors’ reputations) through a database of more than 1 million company ratings collected every year. Meanwhile, Onclusive (formerly known as AirPR) offers a variety of tools to analyze the impact of PR and earned media coverage on a company’s bottom line.
Those two areas might not sound dramatically different, but Beltramo said that for PR professionals, they represent two separate goals — and that RepTrak’s reputation data helps to fill in some of the areas that Onclusive was missing.
“We made our name in PR analytics, [measuring] what I would call bottom of the funnel,” he said. “It’s an important objective for PR: Are you driving sales? Are you driving downloads?”
By combining Onclusive’s data with RepTrak’s, Beltramo said they’re giving PR people “a good measure to shoot for at the top of the funnel” — and for some, improving reputation may be more important than driving sales: “At bigger companies with longer cycles and bigger issues, reputation is where the PR person’s psyche was focused.”
Conversely, he said that for a chief communications officer who’d previously paid more attention to high-level reputation, Onclusive’s provides more real-time data and tactical tools.
Beltramo added that there will be multiple stages to the partnership. First, the companies are working to present Onclusive’s media analytics in the RepTrak system. Eventually, information will be flowing in the opposite direction too, with Onclusive’s team figuring out how to incorporate RepTrak as well.
“I am pleased that our partnership with Onclusive will give our clients an even more proactive way to activate their reputation management efforts by using the RepTrak Platform to prioritize and diagnose opportunities and threats, then drill into the details of their media presence to take action,” said RepTrak CEO Kylie Wright-Ford in a statement. “The media and cultural environments are very dynamic right now, so companies need to have a complete set of accurate data to make the right decisions.”
Powered by WPeMatico
The end is in sight for Quibi, PayPal adds cryptocurrency support and Netflix tests a new promotional strategy. This is your Daily Crunch for October 21, 2020.
The big story: Quibi is shutting down
The much-hyped streaming video app led by Jeffrey Katzenberg and Meg Whitman, which raised nearly $2 billion in funding, is shutting down, according to reports in The Information and The Wall Street Journal.
Katzenberg, a longtime Hollywood executive, had blamed the coronavirus pandemic for a lackluster launch in May — an app designed for on-the-go viewing didn’t have much appeal when people were largely stuck at home. And whatever the reason, none of Quibi’s shows ever became a breakout hit.
Quibi executives confirmed the news in a post on Medium.
The tech giants
PayPal to let you buy and sell cryptocurrencies in the US — In partnership with Paxos, PayPal plans to support Bitcoin, Ethereum, Bitcoin Cash and Litecoin at first.
Facebook is working on Neighborhoods, a Nextdoor clone based on local groups — Facebook said that Neighborhoods currently is live only in Calgary, Canada.
Netflix to test free weekend-long access in India — The streaming service recently stopped offering a month of complimentary access to new users in the United States.
Startups, funding and venture capital
Syte, an e-commerce visual search platform, gets $30M Series C to expand in the US and Asia — Launched in 2015 to focus on visual search for clothing, Syte’s technology now covers other verticals, like jewelry and home decor.
June’s third-gen smart oven goes up for pre-order, starting at $599 — It’s been two years since the smart oven’s last major update.
Mine raises $9.5M to help people take control of their personal data — Mine scans users’ inboxes to help them understand who has access to their personal data.
Advice and analysis from Extra Crunch
Founders don’t need to be full-time to start raising venture capital — John Vrionis and Sarah Leary of Unusual Ventures told us that lightweight investing matters in the early days of a company.
Dear Sophie: What visa options exist for a grad co-founding a startup? — The latest edition of immigration lawyer Sophie Alcorn’s column answering immigration-related questions about working at tech companies.
Lessons from Datto’s IPO pricing and revenue multiple — How do you value slower, more profitable software growth?
(Reminder: Extra Crunch is our membership program, which aims to democratize information about startups. You can sign up here.)
Everything else
Sam’s Club will deploy autonomous floor-scrubbing robots in all of its US locations — Sam’s Club parent company Walmart is already using robotics to perform inventory in its own stores.
AOC’s Among Us stream topped 435,000 concurrent viewers — The purpose of the stream, which drew a massive crowd, was to get out the vote as we head into the general election.
Coalition for App Fairness, a group fighting for app store reforms, adds 20 new partners — The coalition claims that both Apple and Google engage in anti-competitive behavior.
The Daily Crunch is TechCrunch’s roundup of our biggest and most important stories. If you’d like to get this delivered to your inbox every day at around 3pm Pacific, you can subscribe here.
Powered by WPeMatico
In memory of the death of Quibi, here’s a quick sendoff from four of our writers who came together to discuss what we can learn from Quibi’s amazing, instantaneous, billions-of-dollars failure.
Lucas Matney looks at what the potential was for Quibi and how it missed the mark in media. Danny Crichton discusses why billions of dollars in VC funding isn’t enough in competitive markets like video. Anthony Ha discusses the crazy context of Quibi and our interview with the company earlier this year. And Brian Heater looks at why constraints are not benefits in new products.
There will be dozens of post-mortems on Quibi, but the fact is there were dozens of post-mortems written about Quibi before it even launched. The whole idea was, to be kind, audacious, though it was also clear to most people that weren’t personal friends with founder Jeffrey Katzenberg that it was doomed from the start.
Quibi’s death is an important moment for streaming, largely because it’s a pretty strong rebuke of services trying to one-up the Netflix model by solely focusing on high-dollar original content. I think Quibi made several mistakes, but its most pertinent ones can be tied to a lack of flexibility in vision.
The startup insisted that all of its titles were mobile-only, high-production value and relying on Hollywood star power when they probably could have succeeded by keeping a closer eye on what kind of quick-bite content was succeeding elsewhere. Snap has seen success with Discover after years of attempts, and there is space for a dedicated player here, but Katzenberg tried to level-up by throwing checks at his friends and not doing the hard work of scouting out rising trendsetters in the creator world.
There are other lessons here that apply to other streaming new-comers like Apple. Namely that creating a hit TV show is hard and buying a hit TV series is easier if you already have the money. Quibi and Apple TV+ both launched with plenty of new series and no back libraries of beloved legacy content for users to spend time digging into. There’s just so much good stuff out there already. Apple has shifted strategy here, but Quibi boxed itself in and probably couldn’t afford to play here once its error was made clear.
Quibi showcases how the streaming wars’ upending of Hollywood has probably eclipsed reason at this point. Players like Apple don’t belong here, and there’s just too much money pouring into original content that loosely fits the Hollywood mold.
Netflix stock is down 7% today after earnings yesterday showcased slowing growth. With HBO Max, Disney+, Peacock and Apple TV+ all launching in the last 12 months, the streaming market’s cup runneth over. And while I don’t think a Quibi death spells the end for innovation here, I think that the market is ready for some 2021 consolidation.
Powered by WPeMatico