The Creative Economy is Driven by the Digital Economy

Image credit: 
https://city.cri.cn/20210507/633e86e4-7cc0-92c5-a18c-439c6dec1d4b.html

The development of the Creative Economy is hinged on the development of the Digital Economy in the 21st century.

The creative industry in the 21st century is driven by digital technology from the street to the internet. 

Monetization of every format of intellectual property (IP) is mostly generated by digital applications of production, acquisition, distribution, collection and exhibition of which the transactions for the revenues are through fintech applications and services.

We cannot have a robust creative

economy without the support of the digital economy. Both economies have become interlocked as can be seen in Apple, Amazon, Alphabet, Meta, X and the new developments by the MultiChoice Group in Africa. 

The largest revenues of the entertainment industry are online.

Where else can we have billions of downloads and views of content?

Recommended:

THE ROLE OF DIGITAL ECONOMY IN ADVANCING CREATIVE INDUSTRIES-CREATIVITY 2030 SEMINAR

https://city.cri.cn/20210507/633e86e4-7cc0-92c5-a18c-439c6dec1d4b.html

- By Ekenyerengozi Michael Chima,

The Founder/CEO,

International Digital Post Network Limited,

Lagos, Nigeria.

MultiChoice Shares Insights to Content Success at MIP Africa

PRESS RELEASE

MultiChoice Shares Insights to Content Success at MIP Africa

MIP Africa forms part of Fame Week Africa, a week-long festival focusing on African television, music, and film

JOHANNESBURG, South Africa, September 6, 2023/ -- Authenticity, hyperlocal stories, and a visceral understanding of the audience are pivotal indicators for success in the African television and film landscape.

While various insights, overwhelmingly practical and actionable, were shared during a MultiChoice panel discussion at MIP Africa this week, these three indicators served as a throughline for how content creators could successfully pitch to become part of MultiChoice’s creative ecosystem.

The panel discussion, Unlocking Opportunities: MultiChoice and the African Film & TV Industry, took place at MIP Africa, an annual opportunity for African content creators, producers, and sellers to present their work to a global array of buyers, investors, and potential co-production partners. MIP Africa forms part of Fame Week Africa, a week-long festival focusing on African television, music, and film. MultiChoice plays a key role as a sponsor of both events.

According to Waldimar Pelser, Channel Director: Premium Channels at MultiChoice, their most valuable content creators understand their market. “The most productive conversations we have are with producers that consume our content and on a visceral level know who our audience is. (Our partners) have to understand who they’re making content for.”

In terms of what that content looks like, Pelser shared that content that can only be made locally, and that viewers would not be able to find elsewhere, reap the most success.

Popular genres include drama and unscripted reality, with the consensus being that while successful themes are universal, viewers want something “uniquely South African,” with the setting being locally specific and the story and storytelling showcasing an understanding of who the audience is. 

Viewers also tend to gravitate toward dramas with authenticity, warmth, and optimism, while there is generally a low tolerance for gimmicks – in any genre. In unscripted reality, shows where the audience can see themselves on screen generally enjoy success. “For unscripted it’s a mirror,” said Pelser. “We want to see ourselves on screen. (Shows) that remind us who we are – those tend to work.”

Tebogo Matlawa, Head of Scripted Content: Middle & Mass: South Africa at MultiChoice, echoed Pelser and said that while the audience wants to see themselves on screen, producers should also “look outside the bubble of their own existence” when working on content.

“Our audience likes to be involved and go on the journey” and for that reason, they’ve found that very family-orientated shows, with a female point of view, and generally not risqué, do well. While action and dramas have seen success, there isn’t much of an appetite for violence. “Always think, would you watch this with your grandmother?” he advised when considering pitches for scripted content for middle and mass markets.

Victor Sanchez Aghahowa, Head of Production, West Africa for MultiChoice Africa, as well as Nicola van Niekerk, Head of Content for Premium Channels and co-productions, reiterated MultiChoice’s success with hyperlocal content. “We need the connection; people need to feel. If not, what are you doing?” said Aghahowa. “Compelling characters in compelling situations that anybody can relate to – that’s what we’re looking for. Anything inauthentic will immediately be sniffed out by our younger audience.”

According to Van Niekerk, Showmax, specifically, has seen significant success with documentaries as well as dramas.

In terms of co-productions, Van Niekerk pointed to the necessity for producers to have an in-depth understanding of both the local and the international audience before pitching a project. “As a producer, you need to assess your story and say, ‘Where will this story work?’ Will it work in a very specific demographic hyper locally in South Africa, but where else will it work? Which other broadcaster will like that? And to know that you need to understand all of the broadcaster's strategies (on a global level).”

She warns against assuming that what works locally will work elsewhere. This helps to secure funding if the appetite and interest have already been assessed.

Van Niekerk said popular co-productions generally have three things in common: “It’s crime, it’s English and it’s in a beautiful setting. We can tell that those work the best.”

Lerato Moruti, Senior Manager: Reality and Entertainment for Middle & Mass: M-Net, said that successful reality shows provide a sense of tabloid voyeurism, with family-based reality shows that rate high with viewers. But, said Moruti, South Africans look for meaning in content, and respond well to “help TV”, specifically referring to the popular Mzansi Magic reality show Abandoned about orphaned children that seek out family members later in life.

For more on MultiChoice at MIP Africa visit: https://www.MultiChoice.com/Fame-Week.

Distributed by APO Group on behalf of MultiChoice Group.

SOURCE

MultiChoice Group

Hollywood Film Distributor, Vision Films Inc Refuses To Pay Commission on "Eagle Wings" To Nigerian Agent

Hollywood Film Distributor, Vision Films Inc Refuses To Pay Commission on "Eagle Wings" To Nigerian Agent

Lise Romanoff, the Managing Director and CEO of Vision Films Inc, California, USA is presently in dispute with Ekenyerengozi Michael Chima, an international agent for film and TV acquisition and distribution over her refusal to pay him the finder's fees and commission on the multiple award winning, Nigerian war film, "Eagle Wings" she acquired through him in 2022.

"She acquired the film after I pitched the film to her for acquisition."

Michael Chima, who is the Publisher and Editor of the NOLLYWOOD MIRROR® Series, a publication on Nollywood and the Nigerian film industry said that Lise Romanoff threatened to terminate the global distribution contract with the filmmaker, Paul Apel Papel if he insisted on requesting for his finder's fee and commission for the film widely  distributed on VODs and cable TV channels. 

The "Eagle Wings" on the war on the Boko Haram and ISWAP terrorists in northern Nigeria has been showing on M-NET cable TV channels on DStv and streaming on Showmax of the MultiChoice Group, Africa's biggest multimedia entertainment company.

Lise Romanoff said there was no  agreement between Vision Films and Michael Chima. But he dismissed her statement.

"If she did not have any agreement with me, then why did she send me the contract agreement before it was signed by the filmmaker, Paul Apel Papel in the first quarter of 2022 and later sent me the updates on the global distribution of the film she acquired through me? And Vision Films sent me the latest update by email yesterday."

All discussions and transactions between Lise Romanoff and Michael Chima have been by emails without any formal contracts; from the theatrical release of "The American King" in Nigeria by the Silverbird Film Distribution through the recommendation of Michael Chima and she paid him for the publicity and also paid him commission on the box office revenue in July, 2022. She also paid him a minimum guarantee for recommending her to Wiflix, a VOD streaming service based in the Netherlands that is currently streaming several movies distributed by Vision Films Inc.

Therefore, Michael Chima has insisted that his finder's fee and commission on the global distribution of the "Eagle Wings" must be paid as Vision Films paid him for getting them the theatrical release of "The American King" in Nigeria and acquisition of the  rights for the streaming of a catalog of their content by Wiflix. 

Lise Romanoff, the Managing Director and CEO of Vision Films Inc,  California, United States of America, is a member of The Independent Film & Television Alliance (IFTA).

NTA Can Launch Cable TV Network within 12 Months

The Nigerian Television Authority (NTA) can launch a cable TV network within 12 months to compete with MultiChoice of South Africa and StarTimes of China.

Majority of Nigerians cannot afford the increasing subscriptions to the cable TV networks in Africa's most populous country of over 220 million people.

The solution is having a Nigerian owned cable TV network with subscriptions affordable to majority of people in Nigeria.

NOLLYWOOD MIRROR® Series

The first and the best book series on Nollywood and the Nigerian film industry published since 2013.

High Cost of Data is Still a Big Challenge for Netflix, Amazon Prime Video and other Streaming Services in Africa

High Cost of Data is Still a Big Challenge for Netflix, Amazon Prime Video and other Streaming Services in Africa

The cost of 1GB of data, enough for one hour of video streaming, is between $1.50 and $30 in Africa.

Subscribers spend more on data than subscription fees for Netflix and Amazon Prime Video on the continent. Showmax of the MultiChoice Group is Available to all the millions of subscribers to DStv, but majority of the populations in African countries cannot afford DStv. 

The cost of data can be reduced by all the telecoms in Africa with fast internet connection. 10GB should not cost more than $1 which is between N500 and N750 in the current exchange rate of the USD to the Naira in Nigeria, the largest market on the continent. 

My suggestion is Netflix and Amazon Prime Video should also be available offline on cable TV channels to attract everyone who can afford to pay the subscription to the cable TV channels for only $2 monthly.

What matters most in entertainment are four things I call QAAA:

1. Quality of the content

2. Availability of the content

3. Accessibility to the content

4. Affordability of the content.

The content must be of good Quality; Available, Accessible and Affordable.

- By Ekenyerengozi Michael Chima,
Publisher/Editor,
NOLLYWOOD MIRROR® Series,
International content development and marketing consultant.
@Vuulr Program Partner
@Cinewav Affiliate Partner

#1 On Top 20 Movies for the Valentine

 Available on https://wi-flix.com/

Public and Private TV Stations in Nigeria are Grossly Underfunded

Both the public and private TV stations in Nigeria are grossly underfunded.

I am speaking from professional experience since I started my career in the largest TV network in Africa, the  Nigerian Television Authority (NTA) as the youngest professional scriptwriter for TV in Africa at 18 and from the 1980s and in 1998 worked as an Independent Production Manager of "Money Wise" on  the private DBN TV for two years when I was 35. 

When I look at both the public and private TV stations in Nigeria, I shake my head is disappointment. The underdevelopment of NTA in programmes is embarrassing when compared to the South African Broadcasting Corporation (SABC).

The federal government gives peanuts to the NTA and expect the NTA network of over 36 TV stations to produce world class programmes, because they are clueless about the economics of the TV industry which can be learned from the more advanced TV industry of South Africa. 

If the public and private TV stations in Nigeria are producing great content for entertainment and enlightenment of the best standards, they will be highly profitable to compete with MultiChoice, the South African company that operates DStv, the leading satellite television service in Sub-Saharan Africa and GOtv operating in several countries and has the popular streaming service, Showmax. 

The NTA network and private TV stations in Nigeria have channels on DStv and GOtv instead of competing with MultiChoice. But how can they compete without the required infrastructure for a world class international TV industry with the budgets for the best TV productions and for the premium content that will increase their revenues from TV commercials and international distribution of their content. 

- By Ekenyerengozi Michael Chima,
Publisher/Editor,
NOLLYWOOOD MIRROR® Series.

Multichoice Delivers Steady Margins Despite Content Cost Normalisation

 

PRESS RELEASE

Multichoice Delivers Steady Margins Despite Content Cost Normalisation

The group’s linear pay-TV subscriber base (measured on a 90-day active basis) increased by 0.9m to reach 21.8m households

Access Multimedia Content

JOHANNESBURG, South Africa, June 9, 2022/ -- MultiChoice Group (MCG, or the group) (www.MultiChoice.com), Africa’s leading entertainment company, delivered steady margins for the year ended 31 March 2022 (FY22). Download document (1): https://bit.ly/3Q6YBpP “Reduced losses in the Rest of Africa (RoA), a rebound in advertising revenues and a continued focus on cost containment enabled us to absorb the R1.1bn impact of a normalisation in content costs as live sport returned and we resumed our local content production post the COVID-19 lockdowns,” says Calvo Mawela, Chief Executive Officer. “We continued to enhance our video entertainment offering and expanded the variety of services offered to our customers as we grow our entertainment ecosystem,” he added. The group’s linear pay-TV subscriber base (measured on a 90-day active basis) increased by 0.9m to reach 21.8m households, comprising 9m in South Africa and 12.8m in the RoA. The 5% growth year-on-year (YoY) is subdued due to the tough economic environment and elevated subscriber growth during  COVID-19 related lockdowns in the previous year. Here are a few highlights: Revenue: ZAR55.1bn up 3% (up 7% organic) Trading profit: stable at R10.3bn (up 1% organic, due to absorbing cost normalisation) Core headline earnings: R3.5bn (up 6% as Forex impact was less negative)) Free cash flow: R5.5bn (down 3%, due to one-off prepayments) Dividend: R2.5bn 565 ZARc per share (±4% yield) MCG continued to pursue its differentiation strategy through local content, stepping up its local content production by 32% YoY to 6 028 hours and bringing its local content library close to 70 000 hours. Local content accounted for 47% of total general entertainment content spend and the group remains on track to achieve a target of 50% by 2024. Seven major new channels launched, including two Portuguese-focused channels in Angola and Mozambique. In South Africa, the group’s co-productions such as Reyka and Recipes for Love and Murder were broadcast to critical acclaim and international interest. SuperSport delivered world class productions given a bumper calendar of major sporting events. A record number of viewers tuned into Euro 2020, the British and Irish Lions rugby tour and the Tokyo Olympics. SuperPicks, a free-to-play predictor game and the group’s first product collaboration with KingMakers, was launched in Nigeria in August 2021 and already has 0.5m registered users. SuperSport Schools, now 100% owned by the group, continues to grow rapidly and broadcasted 5 249 live games of schools sport during FY22. Growth in Connected Video users on the DStv app and Showmax service is outpacing the market. Paying Showmax subscribers were up 68% YoY, whilst overall monthly online users of the group’s connected video services increased 28% YoY. A major driver has been the focus to localise by expanding local payment channels and enabling local billing in various markets. In addition, local content was stronger than ever with titles like DevilsDorp, the Real Housewives franchise and The Wife. Showmax Pro delivered an enhanced customer experience, which included the Tokyo Olympics, Euro 2020 and every English Premier League game.   On the product side, the announcement of DStv as official launch partner of Disney+ in South Africa is a further extension of the group’s aggregation strategy, which aims to bring customers more content, and convenient access in one central place via DStv’s connected devices. DStv Internet, which was launched in September 2021, is growing strongly. The DStv Rewards program, which supports customer retention and has been successful in reducing dormancy, continues to gain traction with close to a million customers. Digital adoption continues to track well with around 75% of customer touch-points now being managed through the group’s self-service channels. Due to the ongoing global silicon chip shortage the DStv Streama launch has been delayed and is now expected to launch in the first half of the next financial year. SEGMENTAL REVIEW South Africa The South African business faced an increasingly difficult consumer climate, with FY22 growth rates impacted by rising unemployment levels, intermittent loadshedding and a disruption caused by the July riots in Durban and Johannesburg. Revenue increased 4% to ZAR35.6bn, supported by the rebound in advertising revenue and a 1% increase in subscription revenues, driven by subscriber growth in the mass market and the uplift from annual price increases. The return of live sport and other value adding initiatives contributed to reducing churn in the Premium base relative to the prior year. Trading profit declined 1% to ZAR11.0bn as the ongoing cost-optimisation programme only partially offset consumer pressure in the middle market and the normalisation of content costs and sales and marketing expenses. Rest of Africa (RoA) The Rest of Africa business benefited from the popularity of local content such as Big Brother Naija and live sporting events. Whilst revenue of ZAR17.9bn reflects a strong 14% organic increase, it is only 4% higher than the prior year due to the impact of translating Rest of Africa’s USD revenues at a stronger ZAR for reporting purposes. Trading losses amounted to ZAR1.2bn, which is a 24% improvement YoY on an organic basis. Local currencies held up better against the USD than prior years, resulting in an overall headwind on reported results of only ZAR0.1bn (FY21: ZAR1.2bn). Although liquidity challenges continued in Nigeria, the group successfully repatriated cash throughout the year, albeit at a premium to the official exchange rate. Technology segment Irdeto, was impacted by global silicon shortages affecting supply chains, as well as COVID-19 related disruptions in large markets such as India. Revenues of ZAR1.5bn, down 17% YoY (9% organic), were further depressed by the impact of a stronger ZAR upon translation from USD. The segment contributed ZAR0.5bn to group trading profit with margins strong at 33%. Irdeto gained additional market share in its core media security business by winning four new Tier-1 customer. It also grew its device security business, expanded its deployment of connected vehicles with Hyundai, and started new projects like providing security software to large logistics companies.  KingMakers On 29 October 2021, the group increased its shareholding in KingMakers from 20% to 49.23%. KingMakers delivered USD136m (ZAR2.0bn) in revenues, representing robust growth of 74% YoY. It recorded a loss after tax amounting to USD19m (ZAR0.3bn) as increased revenues were offset by investment in people, product and technology to further scale the business. Although revenues are still primarily generated in Nigeria, the group is now also active in Kenya, Ghana and Ethiopia. Future Prospects In the year ahead, the group will continue to drive penetration of its video entertainment services across the African continent by offering customers an array of unique and rich media content delivered in a convenient and cost effective way. Local content and select sporting events such as the English Premier league, UEFA Champions League and the 2022 FIFA World Cup will contribute to the growth in linear and streaming services. Returning the Rest of Africa business to profitability in FY23, maintaining strong cash flows to support a healthy balance sheet and pursuing innovative products and services remain key pillars for long term value creation. “As a platform of choice, our group will look to further expand our entertainment ecosystem by identifying growth opportunities that leverage our scale and local capabilities,” says Mawela. “We will continue to strive to be a trusted partner for our customers’ ever-evolving needs, enriching their lives by delivering entertainment and relevant consumer services underpinned by technology.”  Distributed by APO Group on behalf of MultiChoice Group.   MultiChoice Group Contact Details: Elizabeth Fourie, Senior Manager: Corporate Communications Tel: +27 11 289 4735 Mobile: +27 83 482 5241 Elizabeth.Fourie@multichoice.co.za Meloy Horn, Head of Investor Relations Mobile: +27 82 772 7123 meloy.horn@multichoice.com About MultiChoice Group: MultiChoice Group (MCG), which listed in the Main Board of the JSE on 27 February 2019, is one of the fastest-growing video entertainment providers globally, delivering entertainment products and services to 21.8m households across 50 countries on the African continent. Its track record of more than 30 years is reflective of a commitment to provide audiences with only the best local, sport and international content. MCG’s strong partnerships with distributors, installers and telecommunication companies, along with its well-established payment solutions, competitive pricing and choice of viewership packages continue to secure its place in the global market, while also providing solutions unique to the African market. Its direct-to-home (DTH), digital terrestrial television (DTT) and over-the-top (OTT) solutions enable the business to stay relevant and aligned to changing consumer habits while capturing new markets. Content is at the very core of the business. MCG aims to deliver quality content anywhere, anytime and on any device through a comprehensive video entertainment offering at different price points. As pioneers in African video entertainment, MCG plays an important role in making information and entertainment easily accessible to Africans. MCG aims to secure content rights in a manner that is cost-effective and reflective of the diversity of its audiences. Its substantial portfolio includes award-winning local content (a key differentiator in its service offering), a leading sport offering (including production capabilities) and access to international content, which is all shared on the group’s platforms: DStv, GOtv, Showmax, M-Net and SuperSport. MCG has superior technology capability through the security solutions that Irdeto, its technology company, brings to the group. These solutions enable MultiChoice to protect its investment, create new offerings and combat cybercrime. With 50 years’ expertise in software security, Irdeto’s software security solutions and cyber services protect over 5bn devices and applications for some of the world’s best brands. SOURCE MultiChoice Group

NOLLYWOOD: How Can A So Called Booming Film Industry Be Full of Hungry Actors and Directors?

NOLLYWOOD: How Can A So Called Booming Film Industry Be Full of Hungry Actors and Directors?

Nollywood makes news headlines as a booming film industry, the second largest in the world after the Bollywood of India in the production of movies estimated to be worth over US$250 million annually which is less than the total budget of Avatar ($280 million), Tangled ($260 million), Spider-Man 3 ($258 million) or Pirates of the Caribbean sequels ($300 million).
See "Nollywood: The Nigerian Film Industry by Harvard Kennedy School on http://www.isc.hbs.edu/pdf/Student_Projects/Nigeria_Film_2008.pdf, which every literate person in Nigeria and others in the world should read

The realities in Nollywood are different from the booming headlines, because majority of the actors and directors are living in poverty from Lagos to Asaba.

Majority of the filmmakers are not well paid for their movies by the leading multinational cable TV network, MultiChoice Nigeria of the MultiChoice Group and many of them just wanted to have their movies on the DStv Channels of MultiChoice such as the Africa Magic for the publicity. Then only few of them smiled to the bank from the box office revenues of their movies distributed and exhibited by local film distributors and cinemas. The cinemas have not been making enough for a so called booming film industry without a film market. The highest grossing Nollywood movie from the box office in Nigeria, Funke Akindele- Bello's "Ọmọ́ Ghetto, The Saga" made less than N700 million which is not even up to the monthly incomes of the co-CEOs of Netflix, Reed Hastings who  earns more than $40.8 million annually and Ted Sarandos who  earns more than $38.2 million annually.
So, Nollywood is still far from the news headlines of a booming film industry.

#nollywood #bollywood #ceos #boxoffice #income #revenue
#film #netflix #filmmakers #africa #nigeria #network #india #school #bank #filmmarket #distribution #cinemas #actors #directors #spiderman #avatar #harvard #movies #dstv #multichoice #asaba #budget #hastings #sarandos #news #africamagic #piratesofthecaribbean

Africa: Epic Historical Drama Series, Shaka Ilembe, is Set for Release in 2023

PRESS RELEASE

Africa: Epic Historical Drama Series, Shaka Ilembe, is Set for Release in 2023

Shaka Ilembe tells the story of the making of the iconic African king, with iterations from his early childhood through to adulthood

JOHANNESBURG, South Africa, May 25, 2022/ -- MultiChoice (www.MultiChoice.com) and Bomb Productions are proud to announce that production on the epic drama series, Shaka Ilembe, has commenced and is currently filming in Gauteng and KwaZulu-Natal, providing jobs for over 8 000 people.

Set in the 1700s, Shaka Ilembe tells the story of the making of the iconic African king, with iterations from his early childhood through to adulthood. The two key actors playing Shaka are the incredibly talented Lemongang Tsipa (adult king) and newcomer Ntando Zondi (boy king). The star-studded cast is headlined by Amazon’s Coming 2 America’s breakout star, Nomzamo Mbatha, who plays Queen Nandi, the revered mother of Shaka, with Thembinkosi Mthembu starring as King Dingiswayo and Wiseman Mncube in the role of King Zwide. Mbatha will also executive produce the series.

“Being able to bring this important story to the screen with such stellar talent speaks to the heart of MultiChoice’s ongoing commitment and investment in our local entertainment industry. We are committed to telling great African stories and this is a proudly African series told through the lens of Africans for the very first time,” said Yolisa Phahle, CEO of General Entertainment & Connected Video at MultiChoice.

“I am honoured to bring the giant that is Queen Nandi to life. History will remember those who informed its people of where we come from, to better understand who we are. I am fortunate to be part of a project that is much bigger than ourselves and to tell this story in our own language. Impi iyeza!” expressed Mbatha.

“It is a cast with deep talent,” added Angus Gibson, Creative Director at Bomb Productions. “It is magical witnessing these performers bring life to characters we only know from the history books. When the cast arrive on set, fully dressed in wardrobe and hair from the period, I am blown away.”

The production has been six years in the making, consulting historians, academics and family descendants, including the late King Goodwill Zwelithini and Prince Mangosuthu Buthelezi. “This is our appointment with history; we want to capture the authenticity and deepen the understanding of this era,” explained Nhlanhla Mtaka, an executive and cultural advisor.

Striking a balance between historical authenticity and drama is crucial to the plot. “We want people to learn about our history and culture, but we also want to keep viewers glued in anticipation. This drama seeks to uncover nuggets of history, but creates narrative in the gaps by putting known characters alongside fictional characters in order to keep the story moving,” Phahle continued.

MultiChoice is the biggest funder of local content in Africa – producing content in local languages with local actors, and telling stories that resonate culturally. This production comes off the back of multiple successful co-productions such as Trackers, Reyka and most recently Recipes for Love and Murder. The group’s production quality and their ongoing partnership with international production companies allows for worldwide appeal and promotes South African talent on a global stage.

Distributed by APO Group on behalf of MultiChoice Group.

Contact:
Elizabeth Fourie, Senior Manager: Corporate Communications
Tel:         +27 11 289 4735
Mobile: +27 83 482 5241
Elizabeth.Fourie@multichoice.co.za

About MultiChoice Group:

MultiChoice Group (MCG), which listed in the Main Board of the JSE on 27 February 2019, is one of the fastest-growing video entertainment providers globally, delivering entertainment products and services to 21.1m households across 50 countries on the African continent. Its track record of more than 35 years is reflective of a commitment to provide audiences with only the best local, sport and international content.

MCG’s strong partnerships with distributors, installers and telecommunication companies, along with its well-established payment solutions, competitive pricing and choice of viewership packages continue to secure its place in the global market, while also providing solutions unique to the African market. 

Its direct-to-home (DTH), digital terrestrial television (DTT) and over-the-top (OTT) solutions enable the business to stay relevant and aligned to changing consumer habits while capturing new markets. Content is at the very core of the business. MCG aims to deliver quality content anywhere, anytime and on any device through a comprehensive video entertainment offering at different price points. As pioneers in African video entertainment, MCG plays an important role in making information and entertainment easily accessible to Africans.

MCG aims to secure content rights cost-effectively in a manner that is reflective of the diversity of its audiences. Its substantial portfolio of content which is made available across the group’s platforms (DStv, GOtv and Showmax) includes award-winning local content (a key differentiator in its service offering), a world-class sports offering (with production capabilities) and access to international content.

MCG has superior technology capability through the security solutions that Irdeto, its technology company, brings to the group. These solutions enable MultiChoice to protect its investment, create new offerings and combat cybercrime. With more than 50 years’ expertise in software security, Irdeto’s software security solutions and cyber services protect over 6bn devices and applications for some of the world’s best brands. 

About Bomb Productions:

The Bomb Shelter is a respected leading production company based in Johannesburg South Africa. For over 21 years, Bomb has produced some of South Africa’s most iconic and ground-breaking television drama. The cult youth series, Yizo Yizo, received critical acclaim and awards around the world, and was screened at the Venice Film festival – their hit show Isibaya broke audience records and garnered awards seven years in a row, including over 30 SAFTA awards. 

The team steering Bomb are responsible for many acclaimed projects, including the Oscar-nominated Mandela, Son of Africa, Father of a Nation, as well as Granada Television’s flagship documentary series 7 Up South Africa, which was nominated for a BAFTA. They were also behind the double Sundance winner Amandla, a revolution in four-part harmony as well as the pan African hit drama Jacob’s Cross, which ran for eight seasons. Other projects include  Ayeye,  Zone 14, The Road, Isithembiso, House of Zwide and Sekali le Meokgo, which premiered at the Venice Film Festival. Lupita N’yongo starred and co-directed on Bomb’s ground-breaking series Shuga (seasons 1 and 2). 

Bomb has produced over 1 000 hours of television drama and is currently in production with the epic historical drama Shaka Ilembe.

SOURCE

MultiChoice Group

The MultiChoice Talent Factory and other Film Schools in Nigeria

The MultiChoice Talent Factory and other Film Schools in Nigeria

I have waited long enough to assess the progress of the MultiChoice Talent Factory (MTF) before writing about it 

I was told that the primary purpose of the establishment is to train screenwriters and filmmakers that will produce regular content for the M-Net Channels on DStv. But it has done more than that, because the alumni are producing content for the global entertainment industry.

The MTF covers WEST AFRICA: Ghana & Nigeria; EAST AFRICA: Ethiopia, Kenya, Uganda & Tanzania and SOUTHERN AFRICA: Angola, Botswana, Malawi, Mozambique, Namibia, South Africa, Zambia & Zimbabwe.

The MultiChoice Talent Factory (MTF) Academy has achieved within three years of its establishment since 2018 what other older film schools in Nigeria have failed to achieve for the advancement of the Nigerian film industry. In fact, MTF has exposed the shortcomings of the film schools that have been existing since 2010 to date, but they are still having unaccredited courses and poorly trained graduates who have been rushed through ad-hoc courses in overcrowded classes without in-depth hands-on training on the most important components of filmmaking and film studies.

In filmmaking, if you are good, your works will show that you are good from the script to the screen. In filmmaking, seeing is believing. You show more and talk less. A good film school is not judged by attractive curriculums or fine buildings, but by the quality of the faculty and the quality of the film and TV productions of the alumni in the film industry.

The alumni of MTF have won international awards and scholarships; including the Spotlight award at the 15th edition of the Mobile Film Festival held in Paris, France in 2019 and awards of scholarships from the New York Film Academy (NYFA)  among other notable achievements.

The other film schools in Nigeria should use the template of the MTF for the improvement of their curriculums in accordance with the international standards of the best film schools in the world and they should join the International Association of Film and Television Schools (Centre International de Liaison des Ecoles de Cinéma et de Télévision (CILECT)

https://www.cilect.org/

It is highly recommended to read the interview of MultiChoice Group CEO,  Yolisa Phahle .

TBI Spotlight On Africa: MultiChoice Group CEO Yolisa Phahle – TBI Vision
https://tbivision.com/2021/10/26/tbi-spotlight-on-africa-multichoice-group-ceo-yolisa-phahle/

- By Ekenyerengozi Michael China,

The Publisher/Editor,

NOLLYWOOD MIRROR® Series.

Film Distribution is No Longer the Problem of Nollywood

Film Distribution is No Longer the Problem of Nollywood

Widespread piracy and international film distribution were the recurrent problems of Nollywood and the Nigerian film industry before the attraction of the leading companies in acquisition and distribution in the global film industry through the participation of Nigerian filmmakers in international film festivals and markets in America and Europe.

The international exposure improved the quality of Nigerian movies in accordance with the criteria for international acquisition and distribution of film and TV productions with the use of the best digital cinema cameras and accessories from Canon, Sony, Blackmagic Design, Christie Digital and ARRI.

With the attractions of the MultiChoice Group, StarTimes, 

Canal+, Sky TV, Amazon Prime Video, Netflix, Disney, Lionsgate and others, Nigerian filmmakers cannot complain about the lack of access for the international acquisition and distribution of their movies. The only challenge to them is to produce very good movies to meet the growing demand for global content of top quality of international standards.

Nollywood has attracted Dolby for the best sound quality in film and TV productions, Hiventy for the best dubbing in different international languages of movies, TV dramas, comedies and series and Drylab R&D AS of Norway for the best set reports and workflows for film and TV productions.

 

Nollywood has also attracted the IMAX Corporation of Canada for mega cinemas and CanalOlympia of France. 

"It is very important for us to be close to Nollywood," Simon Minkowski, development director at Canal Olympia, told AFP.  

Another IMAX cinema is going to be built within the next five years.

There are other leading global companies with big budgets for international acquisition and distribution and are willing to acquire the film and TV rights to Nigerian content of which I have recommended two new movies by two outstanding Nigerian filmmakers. One of the movies is scheduled for theatrical release in local cinemas in Nigeria. They are also looking for new movies that can have international theatrical release.  

Success Iyoha, one of the actors for the "Naked Beauty".

My Big Picture of Nollywood is to see Nigerian movies grossing up to US$100 million globally in the next five years and to see Nollywood actors (both female and male) earning up to US$5 million for playing leading roles in big budget movies. The leading actor in my proposed first feature, "Naked Beauty" will earn US$500, 000 for her role alongside the African American A-List Hollywood actor. And she will still be under 30 years at the world premiere of the film in Europe. 

The final statement is international acquisition and distribution companies are available for the best film and TV productions from Nollywood.

And only the best is good enough for us. So, don't settle for less.

- By Ekenyerengozi Michael Chima,

The CEO,

International Digital Post Network Limited,

Publisher/Editor,

NOLLYWOOD MIRROR® Series,

@247nigeria Twitter,

Vuulr Program Partner,

International Acquisition and Distribution.

Drylab Ambassador for international productions,

Member, Digital Cinema Society.

Netflix is Improving the Quality of Nollywood To World Class Standards

Netflix is Improving the Quality of Nollywood To World Class Standards

#Netflix is actually helping #Nollywood to improve the quality of film and TV productions in the Nigerian film industry.

But MultiChoice is still accepting substandard movies from #Nollywood for the Africa Magic. They come cheap for as low as US$1200 per movie.

The producers say being seen on #DStv is an achievement and Netflix is their ultimate dream. Making it to Netflix is like winning an #Oscar to Nollywood filmmakers.

Netflix should only accept Nollywoood or #Kannywood movies with Dolby Atmos or DTS:X, because it would boost the quality of the sound in the film and TV productions. 

Your sound begins from writing the screenplay: from the first draft and not the copy and paste soundtracks during the post production which is the common practice in Nollywood.

Using Dolby Vision is not rocket science. 

If Nollywood wants to improve on the quality of productions to qualify for the official selections of top international film festivals and nominations for the Academy Awards, Nigerian filmmakers have to use the same benchmarks for international productions as their counterparts and peers in the leading film Industries in the world.

And I am still waiting for the first Nigerian movie with Dolby Vision.

- By Ekeyerengozi MichaeI Chima,

Publisher/Editor,

NOLLYWOOD MIRROR®Series,

@247nigeria Twitter

Netflix Needs To Partner with MTN andd Airtel To Increase Subscribers in Nigeria

Netflix Needs To Partner with MTN andd Airtel To Increase Subscribers in Nigeria

Nigeria has about 101 million mobile internet users on the GSM networks in Africa's most populous country with the largest economy. But the high cost of data for viewing videos online is making the leading video streaming services to be out of reach for majority of the teeming population who prefer to subscribe to cable TV services. 

There are an estimated 15 million subscribers of cable TV networks in Nigeria with 10 millon of them shared by Multichoice and StarTimes.

MultiChoice streams satellite TV to between 4.5 million and 6 million Nigerian subscribers from the database reports of the cable TV subscribers in the country.

In Nigeria, satellite TV reception was the choice for 11.8 million households in 2019, a 23% increase compared to 2017, and a further 4.7 million in Ghana, up by 19% from 2017.

The study also highlighted that High Definition (HD) TV sets are becoming increasingly popular, already present in approximately 50% of Ghanaian and Nigerian TV homes.

Paying less than N3, 000 to subscribe to Netflix is not expensive, but including the costs for internet data have discouraged majority of people in Nigeria.

The following analysis on data usage is useful.

"Data consumption is different from speed. If you have a fast connection, that doesn't necessarily mean you use a lot of data per month. However, services like video streaming adapt to the available speed, so having a fast connection often does increase your data usage (and video quality), even if your habits don't change.

Streaming video:

Video uploads and downloads:

If you download a movie rather than streaming it or if you upload one to YouTube or Vimeo, the data consumption is similar, and it's always based on the full quality of the movie. If you make a video on your phone, you probably aren't creating HD quality or running for streaming video. The data consumption will depend on the quality of the video you receive. If you have a slow connection, most providers will adjust the quality so you won't have to pause for buffering too often. High-definition video can run as high in bandwidth consumption as 8 megabits (1 megabyte) a second. That's 60 megabytes a minute, if your connection is fast enough to handle it. A two-hour movie, at that rate, will consume 7.2 gigabytes. That's an upper bound, and usually it will be less, but a feature movie is a lot of data no matter what.

Video uploads and downloads:

If you download a movie rather than streaming it, or if you upload one to YouTube or Vimeo, the data consumption is similar, and it's always based on the full quality of the movie. If you make a video on your phone, you probably aren't creating HD quality or running for hours. Still, if you upload a lot, it will add up hours. Still, if you upload a lot, it will add up."

https://www.buckeyebroadband.com/support/internet/what-exactly-is-internet-data-and-data-usage

Netflix has partnerships with Telkom and Vodacom in South Africa and these deals have increased the subscriptions to the video streaming service. A similar partnership with MTN and Airtel in Nigeria will attract the millions of the middle class subscribers of the GSM networks in the country so include subscription to Netflix in their monthly budget.

- By EKENYERENGOZI Michael Chima,

Publisher/Editor, 

NOLLYWOOD MIRROR®Series 

247 Nigeria (@247nigeria) / Twitter

https://mobile.twitter.com/247nigeria

https://www.amazon.com/author/ekenyerengozimichaelchima