Sex, Netflix and Showmax 💕💋💥
Thursday, August 24, 2023
Sex, Netflix and Showmax
Tuesday, August 22, 2023
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
Thursday, January 19, 2023
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.
Publisher/Editor,
NOLLYWOOD MIRROR® Series,
International content development and marketing consultant.
@Vuulr Program Partner
@Cinewav Affiliate Partner
Thursday, June 9, 2022
Multichoice Delivers Steady Margins Despite Content Cost Normalisation
PRESS RELEASE |
The group’s linear pay-TV subscriber base (measured on a 90-day active basis) increased by 0.9m to reach 21.8m households |
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:
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. 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 |
Wednesday, May 25, 2022
Giving Africa a Creative Voice in the Digital Era
MultiChoice Group
OPINION PIECE
Giving Africa a Creative Voice in the Digital Era (By Georginah Machiridza)
A modern media company would likely use a combination of broadcast media, social media, written content, video clips, as well as animation and physical activations to share content and market their brand.
JOHANNESBURG, South Africa, May 25, 2022/ -- By Georginah Machiridza, Executive Head Content Strategy and 3rd Party Channels, MultiChoice Group (www.MultiChoice.com)
It’s crucial that the content, art and creative output of Africa’s content creators remains authentically African, even while we embrace the opportunities of the digital era, writes Georginah Machiridza, Executive Head Content Strategy and 3rd Party Channels, MultiChoice Group.
We’re all aware of how rapidly the media landscape is changing. Audiences have been migrating to digital and online channels for more than a decade, and even established media such as broadcast, film, and radio are using hybrid platforms that reach audiences across multiple channels.
A modern media company would likely use a combination of broadcast media, social media, written content, video clips, as well as animation and physical activations to share content and market their brand.
Digital skills
This constantly evolving media terrain requires a diverse range of skills. Storytelling lies at the heart of most media messaging, but specific technical knowledge is required to translate compelling stories for every channel.
Writing, cinematography, video editing, TV, radio and online presenting, animation, coding and content management are just some of the specialised skills of the modern media landscape – many of which are evolving in real time as their respective media fields develop.
Africa is at the coalface of these developments. New media provides enormous opportunities to reach more of our people, with more compelling content, and to do it more efficiently and cost-effectively.
African authenticity
The challenge, though, is that we must continue to tell African stories, even while many technology innovations and Big Tech companies originate outside Africa. Digital media evolution comes with a very real threat of cultural imperialism.
The solution to avoiding this Western cultural hegemony is twofold. Firstly, we must empower African content creators with the skills to tell African stories. Secondly, we must create viable, profitable markets for African content, and grow demand for that content.
Fortunately, Africa has long been a hub of creativity and innovation. We have “found our voice” in the digital economy, and there are many creators telling African stories for African, as well as global audiences.
These include people like Kenyan comedienne Elsa Majimbo, Ghanaian internet personality Wode Maya, Ghanaian visual artist Prince Gyasi, Kenyan journalist Brian Otieno, South African illustrator and artist Slaying Goliath, SA comic Donovan Goliath and others. These innovators are “Expressing Africa” through compelling content using digital and social-media platforms.
African media platforms such as DStv and Showmax are also enabling this trend, creating platforms across the continent tailor-made to showcase African stories for audiences hungry for stories about themselves and their culture.
In 2018, M-Net and MultiChoice spent R2,5bn developing local movies and series and bringing them to screens across Africa.
By investing in original productions of authentic stories and talent across the continent, M-Net is helping to launch acting, writing and filmmaking careers, both locally and internationally.
Hyperlocal platforms
In Ethiopia, MultiChoice channel Abol TV provides premium 100% Ethiopian general entertainment 24 hours a day. In Uganda, Pearl Magic provides a similar offering, telling stories by Ugandans for Ugandans. In Nigeria, Africa Magic provides channels in Igbo, Yoruba and Hausa. Customised hyperlocal MultiChoice offerings are also available in Ghana, Angola, Mozambique and Kenya and 3rd party channel launching in Zimbabwe recently.
The group reaches a total of 50 African countries. The Showmax streaming service has also emerged as a powerful platform for African content, through its movie and series offerings. Its Colours Of Africa series of homegrown African short films by MultiChoice Talent Factory (MTF) students celebrates African culture and the effects of modernisation on some cultural practices.
Skills pipeline
All of these emerging platforms – whether broadcast, streaming or digital – have created enormous opportunities for African media workers and content creators. Creating the skills that enable young creatives to grasp these opportunities is the other way Africa will find its voice in the digital era.
Helping to provide this, by building a pipeline of skilled African content professionals is the MultiChoice Talent Factory.
MTF plays a critical role in building and strengthening the TV & film industry across Africa, and was born out of a need to solve for representation, local content, and higher production quality and value. MTF is a shared-value platform and strives to be Africa’s leading training ground for content creators, by providing an enhanced training programme through partnering with local and global experts. The initiative takes a multi-tiered approach, incorporating the MTF Portal, the MTF Academies and MTF Industry Masterclasses.
Every year, the MTF academies select 74 talented African individuals to participate in a 12-month academic and practical immersion programme including both theory and hands-on experience in cinematography, editing, audio production and storytelling to name a few.
The year-long, fully sponsored programme is offered through regional MTF academies in Kenya, Nigeria, Zambia and South Africa, in partnership with local tertiary education institutions. Students and interns learn filmmaking by making films – developing their film and TV production skills alongside industry greats.
In addition, MTF Masterclasses give working film and television professionals and those who aspire to be content creators exclusive access to practical, industry expert-led skills workshops, where they interact and learn from the best in Africa and the world. The online portal has more than 40 000 registered users who have access to a growing library of masterclass content.
The MTF Masterclasses, the Academies and the MTF Portal (a profiling and networking platform) – support MultiChoice’s commitment to enhancing accessibility, opportunity, and quality in local productions.
These initiatives are all part of Africa’s cultural and technological resurgence, creating opportunities and building capacity, allowing Africa’s creative output to stand proud on the world stage.
Distributed by APO Group on behalf of MultiChoice Group.
SOURCE
MultiChoice Group
Monday, October 4, 2021
Netflix Needs More Nigerian Content To Attract More Nigerians
#nigeria #banks #network #movies #tvseries #entertainment #Nollywood
#subscriptions #millennials #acquisition #amazon #africa
Netflix Needs More Nigerian Content To Attract More Nigerians
Some of the best Nigerian movies and TV series are not on #Netflix.
They are on DStv, iROKOtv, StarTimes and on other OTT platforms run by two leading Nigerian banks and one multinational GSM network.
I watch more than 20 Nigerian movies and five different series weekly on DStv and many trailers of new Nigerian movies every day released on Showmax and iROKOtv.
Netflix needs to comprehend the demographics of the population of Nigerian lower and upper Middle Class and Upper Class, who are the largest subscribers of cable TV channels and they are from the largest dominant tribes of Igbo, Yoruba and Hausa Fulani. You have to show them movies and series they can relate with.
Netflix should balance the equation for the acquisition of Nigerian movies and series. Check out the #content on REDTV of UBA, NdaniTV of GTBank and airtel TV of Nigeria. They have more exciting Nigerian movies and series with hundreds of thousands of subscribers.
Increase your Nigerian content and your Nigerian subscribers will increase with more new movies and series by new outstanding Nigerian producers preferred by the Nigerian millennials who are from the Middle Class and Upper Class of Nigeria whose population is over 35 million.
Publisher/Editor,
NOLLYWOOD MIRROR® Series,
Friday, July 30, 2021
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
Tuesday, July 20, 2021
Nollywood is Not Hollywood
#movietheaters
#cinema
#movies
#moviegoers
#Hollywood
@theacademy
@amctheatres
Having a cinema is one thing; attracting moviegoers to the cinema is another thing.
- Ekenyerengozi Michael Chima
Nigerian film distributors and exhibitors banking on the followers of the A-List actors on Instagram and Facebook has not attracted majority of them.to the movies they featured in. Because, many the actors buy followers, views and likes and majority of the followers are not going to the cinemas to spend N4000 to watch a movie that they can watch later on #Netflix with a subscription that is not up to N3000 monthly, including hundreds of other movies and series.
70% of the #Nollywood movies playing in the cinemas in Nigeria are actually teleplays without cinematic quality.
Dramatic scenes are often mistaken for cinematic scenes in Nollywood. And actors having a shouting match in a scene is not an #Oscar performance, but may be good enough for an #emmy . Nollywood is not Hollywood.🤩
Frankly speaking, Nollywood movies are best viewed on @netflix, @showmaxonline and cable TV channels.
- Ekenyerengozi Michael Chima.
Sunday, March 7, 2021
Africa Pay TV Forecasts Report 2020 Featuring Airtel, Amazon, Canal Plus Afrique, DStv, Globacom, GOtv, MTN, Netflix, Showmax,
Africa Pay TV Forecasts Report 2020 Featuring Airtel, Amazon, Canal Plus Afrique, DStv, Globacom, GOtv, MTN, Netflix, Showmax, StarSat, Tigo & Vodafone
Nearly 17 million pay TV subscribers will be added in Africa between 2020 and 2026 to take the total to 51 million. Nigeria will be close to 11 million, with South Africa bringing in another 9 million.
https://www.prnewswire.com/new