How Can We Help MX Player Grow and Increase Its Retention? Aditya Gopal Ganguly
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ACADEMFIC VOLUME 1 · 2020 What If - If Then: How Fiction Fits In ................................................................. 1 Frauke Uhlenbruch Good Men .......................................................................................................................................... 4 Jeana Jorgensen Passion of the Sun Probe ..................................................................................................... 7 Eric Schwitzgebel January Thaw ............................................................................................................................... 12 K. Marvin Bruce Treatment ........................................................................................................................................ 23 Eric Reitan Foreseeable .................................................................................................................................... 40 Paul Levinson Company ............................................................................................................................................ 56 Leslie Maxwell Kaiura We Three Spies of Parthia Are ........................................................................................ 73 James F. McGrath PALNI PRESS AND ACADEMFIC PALNI Press is committed to disseminating the diverse scholarly and creative content of supported PALNI institutions and their academic communities, helping them meet their teaching and learning objectives. This service provides the capacity to create and host open access -
2017 American Advertising Awards - ADDY Winners by Club
2017 American Advertising Awards - ADDY Winners by Club AAFAmarillo Award Agency/Company Client/Company Title Silver Estacar Companies Arborlogical Inc. Arborlogical Inc. Pens Silver Lemieux Company Circles Company Trek Volume 2 Student Bronze West Texas A&M University - Mass Communication Story, Johnny WT Homecoming Silver Visual Communications / Amarillo College Weathersbee, Derek Badger Bronze Visual Communications / Amarillo College Weathersbee, Derek Tascosa Drive-in Bronze Visual Communications / Amarillo College Weathersbee, Derek Gig Posters AAFAustin Award Agency/Company Client/Company Title Silver Alamo Drafthouse Alamo Drafthouse, Birth.Movies.Death Birth.Movies.Death Tim Burton Issue Silver Archer Malmo Archer Malmo Archer Malmo Tortilla Bendita Gold archer malmo Archer Malmo Tortilla Bendita Gold archer malmo Yaktrax Yaktrax Oh Slip Gold Backstage Design Studio Reckless Kelly "Sunset Motel" Reckless Kelly CD Gold Backstage Design Studio Reckless Kelly "Sunset Motel" Reckless Kelly Vinyl Silver Dell Blue Alienware Alienware “We’re Game” Silver Dell Blue Alienware Alienware Brand Evolution Silver Dell Blue Dell Dell Monitor Wallpaper Photography Gold EnviroMedia Washington Regional Alcohol Program #CelebrateDD Campaign Bronze Greatest Common Factory The Salt Lick Whiskey Barrel Aged BBQ Sauce Silver GSD&M United States Air Force Air Force Special Operations Bronze GSD&M United States Air Force Air Force Special Operations Gold GSD&M United States Air Force Air Force Special Operations Gold GSD&M United States Air Force Airforce.com -
Video Trends Report Q2 2019
1 VIDEO TRENDS REPORT Q2 2019 © 2019 TiVo Corporation. Introduction 2 Survey Methodology Q2 2019 Survey Size INTRODUCTION 5,340 Geographic Regions U.S., Canada TiVo seeks real consumer opinions to uncover key trends relevant to TV providers, digital publishers, advertisers and consumer electronics manufacturers for our survey, which is administered quarterly and examined biannually in this Age of Respondents published report. We share genuine, unbiased perspectives and feedback from viewers to give video service providers 18+ and industry stakeholders insights for improving and enhancing the overall TV-viewing experience for consumers. TiVo has conducted a quarterly consumer survey since 2012, enabling us to monitor, track and identify key trends in viewing This survey was conducted in Q2 2019 by a leading habits, in addition to compiling opinions about video providers, emerging technologies, connected devices, OTT apps and third-party survey service; TiVo analyzed the results. content discovery features, including personalized recommendations and search. TiVo conducts this survey on a quarterly basis and publishes a biannual report evaluating and analyzing TiVo (NASDAQ: TIVO) brings entertainment together, making it easy to find, watch and enjoy. We serve up the best key trends across the TV industry. movies, shows and videos from across live TV, on-demand, streaming services and countless apps, helping people to watch on their terms. For studios, networks and advertisers, TiVo delivers a passionate group of watchers to increase viewership and engagement across all screens. Go to tivo.com and enjoy watching. For more information about TiVo’s solutions for the media and entertainment industry, visit business.tivo.com or follow us on Twitter @tivoforbusiness. -
1 January ACC AHA HRS 2014 Afib Guidelines.Pdf
JOURNAL OF THE AMERICAN COLLEGE OF CARDIOLOGY VOL.64,NO.21,2014 ª 2014 BY THE AMERICAN HEART ASSOCIATION, INC., ISSN 0735-1097/$36.00 THE AMERICAN COLLEGE OF CARDIOLOGY FOUNDATION, http://dx.doi.org/10.1016/j.jacc.2014.03.022 AND THE HEART RHYTHM SOCIETY PUBLISHED BY ELSEVIER INC. CLINICAL PRACTICE GUIDELINE: FULL TEXT 2014 AHA/ACC/HRS Guideline for the Management of Patients With Atrial Fibrillation A Report of the American College of Cardiology/American Heart Association Task Force on Practice Guidelines and the Heart Rhythm Society Developed in Collaboration With the Society of Thoracic Surgeons Writing Craig T. January, MD, PHD, FACC, Chair William G. Stevenson, MD, FACC, FAHA, FHRS*{ Committee L. Samuel Wann, MD, MACC, FAHA, Vice Chair* Patrick J. Tchou, MD, FACCz Members* Cynthia M. Tracy, MD, FACC, FAHAy Joseph S. Alpert, MD, FACC, FAHA*y Clyde W. Yancy, MD, FACC, FAHAy Hugh Calkins, MD, FACC, FAHA, FHRS*zx Joaquin E. Cigarroa, MD, FACCy *Writing committee members are required to recuse themselves from Joseph C. Cleveland JR, MD, FACCjj voting on sections to which their specific relationships with industry and Jamie B. Conti, MD, FACC, FHRS*y other entities may apply; see Appendix 1 for recusal information. Patrick T. Ellinor, MD, PHD, FAHAz yACC/AHA Representative. zHeart Rhythm Society Representative. x k Michael D. Ezekowitz, MB, CHB, FACC, FAHA*y ACC/AHA Task Force on Performance Measures Liaison. Society of { Michael E. Field, MD, FACC, FHRSy Thoracic Surgeons Representative. ACC/AHA Task Force on Practice Guidelines Liaison. Katherine T. Murray, MD, FACC, FAHA, FHRSy Ralph L. -
India OTT Video Market
Solve. New India OTT Video Market Jan 2021 Bangalore. Delhi. Mumbai. Dubai. Singapore. New York © 2020 RedSeer Consulting confidential and proprietary information Sports streaming period saw the highest OTT Video consumption in 2020 Monthly Consumption, OTT Video Bn Mins ~13% growth 228 231 218 208 200 205 201 204 193 195 181 175 162 Jan'20 Feb'20 Mar'20 Apr'20 May'20 Jun'20 Jul'20 Aug'20 Sept'20 Oct'20 Nov'20 Dec'20 Jan`21 Pre-COVID Lockdown Post Lockdown Growing with sports & new releases - New movie and series - Sports and IPL from Sept to Nov - Declining new releases - Less OTT engagement as released - New movies released didn’t perform well - Free Trial closed by users started moving out - Users watching their - Free StreamFest by Netflix Netflix - TV soaps started again favorite content on repeat - Number of Original increasing and more releases in the pipeline for JFM`21 Note: Analysis excluding YouTube Source : RedSeer IP, RedSeer Analysis 2 © RedSeer Higher releases leading to strong growth for Originals & movies consumption on OTT Genre wise engagement, OTT Video Industry Key Takeaways Jan`20 v/s Jan`21 Originals ~180 Bn ~205 Bn • Increased Investments: Both International & homegrown platforms have been heavily investing in creating & promoting more quality Originals 12% -1 % 11% Others • Rise of regional OTT Platforms: 15% Smaller OTT platforms have only 18% -4% focused on creating relevant Original TV Series content & have gained massive traction 19% over the last year 14% 50% Originals Movies • Mainstream movie releases: Higher -
Television Entertainment a TWO PART CAT SERIES
Television Entertainment A TWO PART CAT SERIES CAT Web site: sirinc2.org/a16cat/ Television Entertainment Twopart presentation series: • Broadcast vs. Internet Television (Streaming) – Sept. 17 • Smart TV’s and Streaming Devices • Streaming Sites • Finding Programs to Watch Television Viewing Options 3 Basic ways to get video content: • Service provider (Xfinity, AT&T, Wave, etc.) • Streaming apps on your Smart TV • Streaming apps via external streaming device Television Service Provider (Xfinity, AT&T, etc.) “Cut-the-Cord” Streaming App Television Smart TV or Ext. Streaming Streaming App Internet Service Device Streaming App Internet Streaming Smart TV’s • Primary purpose of any TV is to display video content • Smart TV’s are “Smart” because they have apps to access a variety of additional media services • Almost all newer TV’s are Smart TV’s (some “smarter” than others) • Newer TV’s are rapidly getting “Smarter” • Depending on the age of your TV and/or needs, you may want to purchase a external streaming device Article Link to: What is a Smart TV? https://www.digitaltrends.com/hometheater/whatisasmarttv/ Should I get a streaming device if I already have a Smart TV? Advantages of streaming device over Smart TV apps: • Get access to more streaming services (?) (Some Smart TV’s now have app stores) • A more userfriendly interface and search system • Easier to navigate between app • Search all apps at once • Faster response (?) • A way to make old TV’s “Smart” (or Smarter) What can you do with a streaming device? • Access over 500k movies & TV shows via Hulu, Netflix, STARZ, SHOWTIME, HBO Max, Prime Video, etc. -
Amazon's Video Ecosystem Extends Worldwide
E-commerce giant’s move into the video space is multi-faceted TV Amazon’s video ecosystem extends worldwide Over the last decade, Amazon has IHS Markit forecasts 44 million offered every flavour of the Home active subscription users for Amazon Entertainment Video Industry, from Prime Video service by year-end 2017 physical disk retail and rental, to with a little over 30 million in the Amazon Prime Video and Netflix subscribers by region online transactional, subscription, USA and 11 million coming from and advertising funded video. its next top three country markets. 100% 80% 60% The Amazon Prime service bundled with video is now 40% available in 16 countries worldwide. These bundled Prime Although unable to triumph over the 20% % of total subscribers % of total Video subscription users make up king of subscription video globally, almost 99% of the total Prime Video Amazon Prime Video does now surpass 0% Netix Amazon Netix Amazon subscription user base as international Netflix by subscriber count in a few standalone Prime Video struggles to select markets owing to the perceived 2016 2021 gain similar traction. value of the bundled Prime ecosystem. Year/Company Africa and Middle East Asia Pacic Central and Eastern Europe To learn more about our new Amazon’s video ecosystem extends worldwide – 2018 Report please contact South and Central America Western Europe North America Source: IHS Markit © 2017 IHS Markit Max Signorelli Research Analyst – Home Entertainment [email protected] 203672611-MT-0118 Copyright © 2018 IHS Markit. All Rights Reserved. -
Amazon Prime Video Now Available on Nos´ Uma 4K Tv
PRESS RELEASE 25/ 03/ 2021 AMAZON PRIME VIDEO NOW AVAILABLE ON NOS´ UMA 4K TV NOS has integrated the Amazon Prime Video streaming service on UMA TV. UMA TV subscribers with an Amazon Prime Video membership can now watch Amazon Original movies and series with the best 4K Ultra HD picture quality. Popular across the world, Amazon Original movies and series are recognized for their quality, so by integrating the Prime Video app into UMA TV, NOS continues to strengthen its entertainment content offer and optimizes the television experience. UMA TV subscribers with an Amazon Prime Video membership have now easy and stress free access to the Prime Video App via the Apps area of the Box menu, and to thousands of movies, series and childrens content from the popular streaming service, with the definition and realism that only 4K HDR can provide. To be noted that NOS is the only operator that offers the 4K box for all subscriptions. Among the Amazon Original movies and series available on the service, and which NOS subscribers with the 4K UMA TV and Amazon Prime Video membership can watch, are the following: - In the Comedy category: The Marvelous Mrs. Maisel (IMDb 8.7- winner of 3 Golden Globes and 20 Emmys), Upload (IMDb 8.0 from the producer of The Office, Greg Daniels) and The Grand Tour (IMDb 8.7- Jeremy Clarkson, Richard Hammond and James May travel the globe driving new and exciting automobiles from manufacturers all over the world.) - In the Action category: Tom Clancy’s Jack Ryan (IMDb 8.1 - based on the novels by Tom Clancy), The Boys (IMDb 8.7 - with a very successful second season recently released) and Hanna (IMDb 7.5) - In the Fantasy category: Carnival Row (IMDb 7.9- with Orlando Bloom and Cara Delevingne), and American Gods (IMDb 7.8). -
The Export of European Films on SVOD Outside Europe
The export of European films on SVOD services outside Europe Christian Grece September 2019 A publication of the European Audiovisual Observatory Table of Contents Overview of 79 SVOD services in 21 countries worldwide Analysis by region and country ▪ North America – Canada and USA ▪ Latin America – Argentina, Brazil and Mexico ▪ South East Asia – Indonesia, Malaysia, Philippines, Singapore and Thailand ▪ East Asia – China and Japan ▪ India ▪ Oceania –Australia and New Zealand ▪ Middle East – The United Arab Emirates, Egypt and Saudi Arabia ▪ Individual countries - Russian Federation, South Africa and Turkey Introduction The aim of this report is to give a picture on the export of EU films on SVOD services outside of the European Union. 79 SVOD services in 21 countries worldwide are part of the sample. The report looks at the circulation of unique film titles and the volume/occurrences of films available on these services, on a regional and service basis. The first part gives a snapshot of the availability of EU films around the globe after which a overview for each region is provided. Methodology The analysis has been carried out based on data provided by Ampere Analysis and comprehends SVOD catalogue data collected in June 2019. A film is defined as a feature film, fiction film, documentary or other film content available in the “Film” / “Movie” section of the SVOD catalogues part of the sample. For the origin of a film, only the first country of production is taken into account. The production countries are based on data collected from the Observatory’s LUMIERE database on admissions to films in Europe, IMDb and the Movie database. -
Filmmaking Theory for Vertical Video Production
Filmmaking Theory for Vertical Video Production Rafe Clayton, University of Bolton, United Kingdom The European Conference on Media, Communication & Film 2019 Official Conference Proceedings Abstract Smartphones have changed the moving image landscape and now mobile users are consuming more vertical video than ever before (Richards 2017). In particular, vertical video is gaining popularity amongst content makers for social media since the aspect ratio typically suits how mobile phone users hold their phones and therefore how they are now watching video content (ScientiaMobile 2019). In recent years the 9:16 aspect ratio has established itself as an emerging requirement within the professional video market since companies have realised the commercial value of creating video vertically for mobile consumption (Neal and Ross 2018). In order to stand out, creators are being encouraged to broadcast content that is better quality than that which their audience is capable of creating themselves (Social Chain 2018). The film industry has spent over a hundred years specializing in the production of horizontal videography and there is a distinct absence of literature and training which can help support vertical filmmakers as they learn their craft. As the distinction between amateur and corporate vertical video content continues to blur (Neal and Ross 2018), scholastic work helping to identify some of the techniques, equipment, approaches and methods by which professionals can separate themselves from non-professionals is useful. This paper is the author’s reflection on the current literature and practice that surrounds the phenomenon of vertical video production and attempts to bring together his own research with the scattered and often inconsistent pieces of advice and inspiration that have been published in print, online and on video. -
INDIAN OTT LANDSCAPE a Survey Report by Vidooly
INDIAN OTT LANDSCAPE A Survey Report by Vidooly Video Intelligence & Cross Platform Analytics Software INTRODUCTION The increasing popularity of OTT Platforms in India is no more a secret. While Hotstar, Netflix and Amazon Prime have become established names in the industry, we also have new entrants such as AppleTV+ and Flipkart Videos marking their debut. With 30+ platforms competing to build a subscriber base, they are experimenting with newer way to please their audience. With the help of big data, platforms are devising ways of personalizing their user experience. Innovations such as voice tags, augmented and virtual reality, 360 degree viewing and blockchain technology are also getting intensely explored. The pace at which the industry is transforming, makes it indispensable for the platforms to evolve continuously. Other than recognizing consumer’s changing preferences and their need of personalized experiences, brands also realize their price-sensitive nature. This has led to the provision of multiple screens and introduction of cheaper subscription plans by these platforms in order to fit consumers’ pockets. Undisrupted 4G connectivity has played a major role in enabling the online content consumption, that too, at viewers’ ease. Not only has it made internet accessible but also affordable, thus driving the user-spends towards other means of entertainment - in this case – Video-on-Demand Platforms. The penetration of internet in rural areas has also soared, resulting in a higher demand of regional content on these platforms. There’s no second guessing in the fact that the OTT industry is going to be the face of Media & Entertainment Industry in the coming years. -
Discovering Binge Watching and Audience Engagement Through Sentiment Analysis
International Journal of Advanced Science and Technology Vol. 29, No. 7, (2020), pp. 8030-8038 Discovering Binge watching and Audience Engagement through Sentiment Analysis *Devesh Lowe1, Bhavna Galhotra2, Yukti Ahuja3 1,2IT Department, JIMS Rohini Sector-5, Delhi-1100851 *[email protected], [email protected] 3Management Department, JIMS Rohini Sector-5, Delhi-1100852 [email protected] Abstract Indian audience have trusted and enjoyed television entertainment for the longest time until an alternate medium called Internet based Video on demand (VOD) emerged. The new digital medium let users handpick and watch/listen to video or audio content at a time of their choice. Binge-watching, meaning watching multiple episodes of the same TV series continuously constitutes this phenomenon. Little is known about the transition in the Indian viewer’s behaviour from scheduled broadcast viewership to marathon consumption of entertainment. This study explores how social platforms are deployed to reach and entice audience towards Netflix, Amazon Mx player etc. The study unfolds the audience sentiments towards OVD programming, its promotion and impact with the use of sentiment analysis. The methodology deployed for the study includes a preliminary analysis of secondary data comprising articles, research papers and cases followed by analysis of data collated via Twitter to articulate the viewers’ opinion. The results of the study reflect upon the rising interest in web content and growing fondness for web based video programming. The study is first of its kind in the Indian context and has key takeaways for practitioners in the VOD programming industry, marketing professionals and researchers working in this arena.