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ACN Newswire

Survey reveals that 60% of respondents from Hong Kong want to play video games with others during Lunar New Year

19 1 月, 2023

HONG KONG, Jan 19, 2023 - (ACN Newswire via SEAPRWire.com) - Video games are becoming more and more prevalent in daily life and in popular entertainment. As the Lunar New Year is approaching, Xbox commissioned YouGov to conduct a representative survey of the age 13+ online population with 611 samples to better understand consumer attitudes toward video games, as well as consumer preferences for behavior over the Lunar New Year period.Overall, more Hong Kong people are choosing video games as their first choice for daily entertainment, with Generation Z and Millennials being the most likely to do so. More than three quarters of respondents play video games as an entertainment activity, and more than half of them play video games at least once a week, with one-quarter playing once a day or more frequently. The survey also revealed that Hong Kong video game players prefer games that are simple to play, are multiplayer, are entertaining, and are also interactive. The top five game genres according to the survey are Racing, Platformer, Lifestyle Simulation, Management Simulation and Match Three. Among them, Baby Boomers prefer Match Three, Millennials prefer Management Simulations, and Gen Z gamers prefer Lifestyle Simulation games.The survey found that 66% of gamers prefer to play video games with others over the Lunar New Year break. Middle-aged and older generations are more concerned with how video games can foster intergenerational ties and family reunions, while younger generations think that video games are the main catalyst for social interaction. According to the data, a majority of Millennials believe that playing video games with members of different generations of their family is a great way to build relationships; 75% of Millennials believe that playing video games brings people together more than other activities, and 61% of Gen Z agree. During the Lunar New Year holiday season, 70% of respondents said they preferred playing video games to watching TV with their families because they are more interactive and engaging.While there are differences in genre preferences across age groups, video games are generally acknowledged to play a role in fostering social interaction between friends and family members. Xbox recommends below video games which can enhance interactions during Lunar New Year gatherings, including racing game "Forza Horizon 5" & "Dirt 5", family multiplayers game "Taiko no Tatsujin: The Drum Master", management simulation game "Two Point Campus" and match three game "Bejeweled 3". Copyright 2023 ACN Newswire. All rights reserved. (via SEAPRWire)

ACN Newswire

ShineGlobal Social Networking Market Report 2022: ByteDance, Match Group, Newborn Town & More Lead Industry Trends

17 1 月, 2023

HONG KONG, Jan 17, 2023 - (ACN Newswire via SEAPRWire.com) - Social networking establishes the connection and interaction between people. Entering the Internet era, social networking products bring everyone closer to each other. For Internet companies, social networking products are closest to people and can build an infinite commercialization derivative space based on the relationship chain, which is why this business looks both sexy and real. Recently, ShineGlobal, a global industry think tank, released the "Global Audio and Video Social Networking Market Report 2022" which provides a detailed overview of the global audio and video social networking market size, market segmentation in 2022, and the industry development trends in 2023. After the epidemic, audio and video social networking has undoubtedly become the most popular product format in the sector, and more and more developers are eager to have a try. In addition to TikTok, a short-video app that has successfully achieved globalization in recent years, audio and video social apps such as Match Group's Azar, Joyy's Bigo Live, and NewbornTown's MICO have gradually become the main force of globalization. 1. Audio and Video Social Networking Has Become the "Rigid Demand" for Users Around the World In 2022, although our offline activities gradually restored, the online life is still a major trend, and people continue to migrate their life scenes from offline to online. Social networking, as an indispensable part of people's daily life, has maintained a rapid growth. Currently, most social networking products on the market have incorporated audio or video features with strong immersion, making users, especially the young, more dependent on these products. According to Frost & Sullivan's forecast, the global social media market size is expected to grow at a CAGR of 15.1% from 2021 to 2024, with a CAGR of 27.6% for video social market size and 25.8% for audio social market size. The growth rate of audio and video social far exceeds the overall growth rate of online social market. It is expected that by 2024, the overall size of the global social media market will reach US$300 billion, of which the audio and video social market size is US$181.3 billion. Video social is expected to reach US$128.7 billion, accounting for 42.8%; audio social is expected to reach US$52.6 billion, accounting for 17.5%. Currently, the normalization of the epidemic has driven a high increase in users' time spent on social media in almost every country and region. In social apps, there is an average of 325% year-over-year growth in usage time per user. This trend is also reflected in the number of downloads. According to Branch, downloads of social apps saw rapid growth at the beginning of the outbreak, and maintained a stable trend afterwards. In terms of market performance, global audio and video social app downloads are mainly from countries such as India, the US, Brazil, and Indonesia, while users from countries in the Middle East, Africa, and other emerging markets are embracing audio and video social products most rapidly. In addition, the Report lists in detail the mega apps and established apps in each segment of the audio and video social networking, as well as products that have achieved rapid growth since 2022. For example, in "Sociality + Live streaming", Bigo Live and MICO are at the top. In "Sociality + Voice Call", Litmatch has grown rapidly in the past year, and its cumulative downloads exceeded 45 million in the first 10 months of 2022. In "Sociality + Game", WePlay is recognized as the product that has rapidly captured the hearts of young users in many markets around the world in the past year.2. ByteDance, Match Group, NewbornTown and Joyy Group Have Stepped Out of Various Successful Routes It's easy to get a social app to gain the favor of a group of people, but it's tough to get it popular in multiple countries around the world and become an integral part of their social entertainment lives. Gaining a firm foothold in multiple regions and developing into a global social product cannot be achieved without innovative product ideas and mature operation methods. ByteDance, Match Group, NewbornTown, and Joyy Group have been able to stand out from the fierce competition by putting on unique "armor" for their products. ByteDance: Copying + Localization We can say, the most successful global social product in recent years is TikTok. In the harsh international environment, its global monthly active users exceed 1.5 billion, making it not only the fifth largest social app in the world, but also overturn the landscape of online video social networking. In the US and UK, the average monthly usage time of the app has exceeded that of YouTube, affecting the entire mobile ecological landscape and stimulating the rise of a number of short-video platforms, such as India's MX TakaTak and Moj, both of which were ranked in the top 10 apps with breakthrough in downloads by data.ai. Today, ByteDance has made TikTok a threat to YouTube, Snapchat and Instagram. TikTok has leveraged some of the strategies that have proven successful in China. Previously, Douyin, the Chinese version of TikTok, gained traction by using "hashtag challenges," such as its partnership with Haidilao Hot Pot to call on users to create their own hot pot recipes. Such regular region-specific events proved to be a sustainable strategy for user growth. In the US, TikTok partnered with famous American host Jimmy Fallon's hit show to launch the "#TumbleweedChallenge", which brought TikTok great exposure. In terms of market selection, the first phase of TikTok's globalization layout chose to be in Japan, South Korea and Southeast Asia. Zhang Yiming, the founder of ByteDance, believes that Japan is a market where overseas products are not accepted easily, so Japan can be a litmus test for globalization to some extent. If Japanese users can accept a product, then users in Southeast Asia and other Asian countries can also accept it. In August 2017, TikTok landed in Japan and set up its first overseas office there. In just three months, TikTok reached the first place in the list of free apps in App Store in Japan, and then topped the same list in Thailand in January 2018. Subsequently, TikTok could be found in the top 10 most-downloaded apps in many Southeast Asian countries. Then, TikTok directly began to expand into the North American market, and gradually expanded from North America to other markets. TikTok's success is also based on its understanding of local users. ByteDance has adopted a polycentric-oriented strategy when expanding to different markets at the same time. The reason is obvious: The algorithm-driven product model is applicable and standard, but video content is not, so ByteDance set up subsidiaries in different countries to make TikTok better localized and launched different versions of TikTok to users. NewbornTown: Brand Marketing Based on Local ConditionsNewbornTown also made localized development as its competitive advantage. It has been on the road to globalization since 2013 and has built a mature and replicable system for globalized operations, enabling its products to land quickly in key markets and grow efficiently with localization. In the past year, the company has further rooted itself in regional markets and continued to deepen its localized operations. To expand its brand presence in different countries and regions, and to make users not feel that they are using a foreign product, MICO, NewbornTown's live-streaming social app, is conducting brand marketing campaigns in different markets to suit local cultures and customs. In the US, MICO provided a platform for local rap fans to show themselves, shooting music videos for contest winners; in Japan, MICO held joint events with local soccer clubs; in Thailand and Vietnam, MICO joined hands with famous local musicians to create theme songs and shoot music videos, which have created a wave of discussion in local social media; in the Middle East, MICO held industry media gatherings and creators' conferences, to promote a positive perception of the online social entertainment industry in the local community, and promote the development of the industry in the Middle East. Today, MICO is the head live-streaming social product in the Middle East and Southeast Asia, and is rapidly expanding in North America, Japan and South Korea. Through a mature and replicable globalized operation system, NewbornTown's customer acquisition efficiency and operation efficiency have been continuously improved, and it has surged in the global social market. Match Group: Acquisition After Acquisition Match Group, a global dating giant, is the parent company of Tinder. After launching Tinder in 2012, Match Group has acquired a number of dating apps such as Meetic, Plenty of Fish and Hinge. In 2021, Match Group acquired Hyperconnect, a Korean social media company, for US$1.73 billion, which was Match Group's largest acquisition to date. Hyperconnect's core product is Azar, which has grown to become the highest-grossing one-on-one video social app in the world. According to Match Group's CEO Shar Duby, 75% of Hyperconnect's revenue and users come from Asia, just to complete Match Group's regional strategic footprint. In addition to complementing the markets, Match Group is also looking at its "live video" technology. Previously, Match Group's apps were still based on profile matching and swipe-matching, and this acquisition may be more of a complement of product type. It can be said that Match Group is a dating company that grew up by self-operation and acquisition at the same time. Through self-development + acquisition along the way, Match Group is now a huge dating empire with dozens of dating products such as Tinder, Match, Hinge, Meetic, OkCupid, Pairs, Plenty Of Fish, OurTime, Azar, The League, and others.Joyy Group: Cost Reducing and Efficiency Enhancement, Back to the Essence of Business In the midst of the overall global economic downturn and the decline in users and revenue of online products, the audio and video social industry continues to grow. However, in 2022, the user growth rate of many audio and video social products declined, and one of the reasons for this phenomenon is that many companies cut costs and increased efficiency, greatly reducing their investment in marketing. In this regard, several practitioners expressed the same view. Most of them believe that in 2022 many social companies reduced costs and increased efficiency, returning to the essence of business. The person in charge of an audio technology service provider said that since the last year, with the increasing cost of customer acquisition, many products have shifted from the pursuit of user growth to the pursuit of revenue generated by users, focusing more on cash flow. Take BIGO, the global business of Joyy Group, as an example, in the second quarter of 2021, BIGO's revenue reached US$598 million, with total costs + expenses of US$570 million and adjusted net profit of US$19.44 million, an adjusted net margin of 3.3%. In the second quarter of 2022, BIGO's revenue reached US$503 million, with total costs + expenses of US$445 million. However, its adjusted net profit reached US$86.3 million, with an adjusted net margin of 17.2%. It is widely believed that cost reduction and efficiency enhancement is one of the reasons for the steady growth of BIGO's earnings. To conclude, many social industry practitioners believe that the product format of "Sociality + X" and products focusing on a certain vertical group will have more opportunities for development, and it will be difficult to see the competitive pattern of one single player getting dominance. We still believe that there will be a lot of globalized social products in the future, and we are all looking forward to the birth of the next "TikTok".For further information, please contact:PEANUT MEDIA LIMITED Direct Line: +86-755-61619798 x8210 Email: hswh.project@czgmcn.com Copyright 2023 ACN Newswire. All rights reserved. (via SEAPRWire)

ACN Newswire

A Focus on Content and the Consumer is the Key Driver for Growth and Sustainability in Asia

7 11 月, 2022

Singapore, Nov 7, 2022 - (ACN Newswire via SEAPRWire.com) - The annual marquee event of the Asian video industry, the Asia Video Summit, returned in full swing, hosting over 300 delegates in person and online as a hybrid conference, amidst a time of immense innovation and disruption in the video industry.The Summit opened with clear views from industry stalwarts, Henry Tan, Group CEO, Astro, Clement Schwebig, Chairman, Asia Video Industry Association (AVIA), and Vivek Couto, Executive Director, Media Partners Asia, that a return to profitability and a focus on revenue was much needed for sustained growth across Asia. Though Asia was a huge but diverse and difficult market, there was no doubt certain markets will continue to grow, said Couto. However, disruption was going to continue for the next few years, added Tan, and all players had to be prepared for a rollercoaster ride. James Gibbons, President & Managing Director, Western Pacific, Warner Bros. Discovery, also shared his views on the massive changes that the industry had gone through over the last decade. While there used to be a real emphasis on subscriber growth, and the belief that the market for subscription video-on-demand was infinite, a business without an advertising component was no longer meaningful. A wholesale reassessment of how to assess the growth and value of a company was now needed. And content was no longer an individual line of business, but represented an entire franchise opportunity that enabled businesses to build a special relationship with their consumers across all touchpoints. This focus on content certainly resonated through the Summit. For Donovan Chan, Founding Partner, Beach House Pictures, sticking to premium programming that was efficiently produced at a high quality to deliver on what the audiences want and need was a key part of his strategy to move more content from East to West. Kirana Cheewachuen, Deputy Director, Planning & Business Development, Strategic Content Group, True Corporation, also added that with Korea leading in script development, there was also a need to attract and develop the right talent in order to discover the secret sauce behind the success of Korean content, and hopefully replicate it in other parts of Asia. However, while content was king, it was not an 'either or' situation, it needed to be across content, activation, distribution, and pricing, said Manish Kalra, Chief Business Officer, ZEE5 India. Leading on to rebundling, Ricky Ow, Partner, Quest Ventures, also shared that it was not 'one size fits all' and that there was a need to meet personal consumer demand and at a price point that made sense. There was also the need to solve this problem as a benefit to consumers as well as content providers, for less churn and more sustainability. For Clarissa Tanoesoedibjo, Managing Director, Vision+, aggregation was the way moving forward, with more integration across the ecosystem. The topic of sustainability was certainly one that reiterated with the panellists this year as well. Chris Sewell, Founder, Net Zero Media, felt that more verifications and guidelines were needed around businesses to help people make informed decisions. Similarly, Esther Peh, Associate Director, Public Policy, Asia, Warner Bros. Discovery, also said that while there were industry wide tools to help take the first step towards being more conscious about your footprint and being more aware of the environmental impact, it was still very much at the nascent phase, and it was important for industry stakeholders and partners to come together. For Globe Telecom, Apple Evangelista, Head, Sustainability and Social Responsibility, while it was becoming a standard in the way they did business, there was also a need to reduce value chain emissions, both upstream and downstream, with the next step being customer education after greening the value chain.On the advertising front, stakeholders too needed to come together as there was certainly enormous opportunity for growth in the OTT advertising space, which was currently under-indexed in Asia. While OTT was the natural evolution of TV, Elaine Tan, Head of Sales, Southeast Asia, International Business Department - Advertising, iQIYI International, felt that OTT was not quite mainstream as yet and there was still a lot of room to grow in the premium space especially with premium Asian content. "If we bring the content that users want, the growth will follow," said Tan, with the advertising dollars following suit as well after.And though TV was evolving to OTT and Connected TV(CTV), for Alex Lowes, Vice President, Client Engagement and Growth, APAC, Finecast, the one commonality was that they were both addressable premium broadcast quality content. And with addressable TV becoming part of an omnichannel strategy, addressable TV was the future. However, a key challenge that still remained for Kanika Manglik, Regional Managing Partner, Investments Strategy, Mindshare, was the adoption of unified measurement.Despite these challenges, there was still much positivity among the panellists. Vignesh Narayanan, CEO, Airtel Ads, shared his prediction that US$200M was the addressable opportunity in India on the table over the next 2 years. Summing it up, Alysha Dino, Senior Director, Global Business Development, Publica, added that with 50% of viewers in Southeast Asia watching content online, this was a transforming time in the industry in Asia Pacific, to make these challenges into a good opportunity. The Asia Video Summit is proudly sponsored by Gold Sponsors Brightcove, BytePlus, INVIDI, PubMatic, Tencent Cloud, TV5MONDE, Silver Sponsors AsiaSat, Broadpeak, Dolby, Edgio, Gracenote, InvestHK, Irdeto, Magnite, MEASAT, Mirada, NAGRA, SES, Synamedia, YouTube. Create Hong Kong of the Government of the Hong Kong Special Administrative Region as the Lead Sponsor supports the Community Outreach Programme that provides complimentary passes for local video and creative industries-related SMEs and tertiary students to participate in the virtual Summit. Complimentary in-person Mentoring Workshops will also be held on 10 November to provide insightful tips about the media industry.About the Asia Video Industry AssociationThe Asia Video Industry Association (AVIA) is the trade association for the video industry and ecosystem in Asia Pacific. It serves to make the video industry stronger and healthier through promoting the common interests of its members. AVIA is the interlocutor for the industry with governments across the region, leads the fight against video piracy through its Coalition Against Piracy (CAP) and provides insight into the video industry through reports and conferences aimed to support a vibrant video industry.About Create Hong KongCreate Hong Kong (CreateHK) is a dedicated office set up by the Government of the Hong Kong Special Administrative Region (HKSAR Government) in June 2009 to spearhead the development of creative industries in Hong Kong. From 1 July 2022 onwards, it is under the Culture, Sports and Tourism Bureau. Its strategic foci are nurturing talent and facilitating start-ups, exploring markets, and promoting Hong Kong as Asia's creative capital and fostering a creative atmosphere in the community.For media enquiries and additional background information on Asia Video Summit 2022, please contact:Charmaine KwanHead of Marketing and CommunicationsEmail: charmaine@avia.orgWebsite: www.avia.org |LinkedIn: www.linkedin.com/company/asiavideoia |Twitter: @AsiaVideoIA Disclaimer: Create Hong Kong of the Government of the Hong Kong Special Administrative Region provides funding support to the project only, and does not otherwise take part in the project. Any opinions, findings, conclusions or recommendations expressed in these materials/events (or by members of the project team) are those of the project organisers only and do not reflect the views of the Government of the Hong Kong Special Administrative Region, the Culture, Sports and Tourism Bureau, Create Hong Kong, the CreateSmart Initiative Secretariat or the CreateSmart Initiative Vetting Committee. Copyright 2022 ACN Newswire. All rights reserved. (via SEAPRWire)

ACN Newswire

Asia Video Summit Returns in 2022 with a Focus on a Future of Growth and Sustainability in Asia

25 10 月, 2022

Singapore, Oct 25, 2022 - (ACN Newswire via SEAPRWire.com) - The annual marquee event of the Asian video industry, the Asia Video Summit (https://asiavideosummit.com), will return as a full hybrid event this year on 1-2 November 2022, with physical events in both Hong Kong and Singapore, as well as a live stream of all sessions to be made available on its interactive event platform. The Asia Video Summit is organized by Asia Video Industry Association (AVIA) with Create Hong Kong of the Government of the Hong Kong Special Administrative Region as the Lead Sponsor. The aim of the Asia Video Summit (Summit) is to tell a holistic story of the state of the video industry, looking at all aspects of it and articulated by its decision makers, to provide its delegates with a comprehensive view of the state of the video industry today. In the post-COVID-19 era, media and entertainment companies have been the darlings of Wall Street. This narrative has recently changed, however, and arguably irrational exuberance has given way to irrational pessimism. But is the streaming business model fundamentally flawed, or is this just a recalibration in an era of inflation and post-pandemic trauma? How do the trajectories of investment vs monetization balance each other? And where does Asia sit compared to other parts of the world? Do subscriber numbers foretell a golden period of growth in Asia that can counter negative narratives from the West? At this year's Summit, we will be speaking to the people who are determining the future of the video industry in Asia. Besides the State and Future of the Video Industry, we will also explore the growing role and Advance of Advertising, the technology Behind the Customer Experience, a detailed look at the role of News and Sports today and the burning topic of Environmental Sustainability. Some of the key speakers of the Summit include:Saugato Banerjee, Managing Director Asia, A+E Networks- Johan Buse, Chief, Consumer Business Group, StarHub- Kirana Chew, Deputy Director, Planning & Business Development, Strategic Content Group, True Corporation- Vivek Couto, Executive Director, Media Partners Asia- James Gibbons, President & Managing Director, Western Pacific, Warner Bros. DiscoveryPhil Hardman, Senior Vice President & General Manager, Asia, BBC Studios- Nicholas John, Vice President, Head of Sports, Astro- Manish Kalra, Chief Business Officer, ZEE5- Mike Kerr, Managing Director Asia, beIN Asia Pacific- Sidd Mantri, Head of Product - Developing Markets, Disney Streaming - Vignesh Narayanan, Chief Executive Officer, Airtel Ads- Parminder Singh, Chief Commercial Officer & Chief Digital Officer, Mediacorp- Jay Yang, Chief Executive Officer, TVING- Nini Yusof, Deputy Chief Executive Officer, Media Prima Television Networks Join us in person at the Asia Video Summit 2022, where, bull or bear, optimist or pessimist, we will ask those who are making the decisions and deciding the destiny of the Asian video industry the hard questions all of us are thinking. All sessions of the Summit will also be livestreamed on the event platform. For more details of this year's Summit programme and speakers, visit www.asiavideosummit.com The Asia Video Summit is proudly sponsored by Gold Sponsors Brightcove, BytePlus, INVIDI, PubMatic, Tencent Cloud, TV5MONDE, Silver Sponsors AsiaSat, Broadpeak, Dolby, Edgio, Google, Gracenote, InvestHK, Irdeto, Magnite, MEASAT, Mirada, Nagra, SES, Synamedia. Create Hong Kong of the Government of the Hong Kong Special Administrative Region as the Lead Sponsor supports the Community Outreach Programme that provides complimentary passes for local video and creative industries-related SMEs and tertiary students to participate in the virtual Summit. Complimentary in-person Mentoring Workshops will also be held on 10 November to provide insightful tips about the media industry. About the Asia Video Industry AssociationThe Asia Video Industry Association (AVIA) is the trade association for the video industry and ecosystem in Asia Pacific. It serves to make the video industry stronger and healthier through promoting the common interests of its members. AVIA is the interlocutor for the industry with governments across the region, leads the fight against video piracy through its Coalition Against Piracy (CAP) and provides insight into the video industry through reports and conferences aimed to support a vibrant video industry. About Create Hong KongCreate Hong Kong (CreateHK) is a dedicated office set up by the Government of the Hong Kong Special Administrative Region (HKSAR Government) in June 2009 to spearhead the development of creative industries in Hong Kong. From 1 July 2022 onwards, it is under the Culture, Sports and Tourism Bureau. Its strategic foci are nurturing talent and facilitating start-ups, exploring markets, and promoting Hong Kong as Asia's creative capital and fostering a creative atmosphere in the community. For media enquiries and additional background information on Asia Video Summit 2022, please contact: Charmaine KwanHead of Marketing and CommunicationsEmail: charmaine@avia.orgWebsite: www.avia.org |LinkedIn: www.linkedin.com/company/asiavideoia |Twitter: @AsiaVideoIA Disclaimer: Create Hong Kong of the Government of the Hong Kong Special Administrative Region provides funding support to the project only, and does not otherwise take part in the project. Any opinions, findings, conclusions or recommendations expressed in these materials/events (or by members of the project team) are those of the project organisers only and do not reflect the views of the Government of the Hong Kong Special Administrative Region, the Culture, Sports and Tourism Bureau, Create Hong Kong, the CreateSmart Initiative Secretariat or the CreateSmart Initiative Vetting Committee. Copyright 2022 ACN Newswire. All rights reserved. (via SEAPRWire)

ACN Newswire

John Lineker vs. Fabricio Andrade Main Event Ends in No Contest After Unintentional Foul Stops Fight

22 10 月, 2022

KUALA LUMPUR, Oct 22, 2022 - (ACN Newswire via SEAPRWire.com) - ONE Championship(TM)(ONE) made a triumphant return to the Axiata Arena in Kuala Lumpur, Malaysia, with a thrilling night of martial arts action. ONE on Prime Video 3: Lineker vs. Andrade featured a series of exciting matchups, headlined by three World Title bouts.John Lineker vs. Fabricio Andrade Main Event Ends in No Contest After Unintentional Foul Stops FightAgilan Thani (L) defeats Germany's Ilja Stojanov (R) via submission (rear-naked choke)Agilan Thani (L) defeats Germany's Ilja Stojanov (R) at ONE on Prime Video 3's In-Stadium After Main EventONE Championship, in partnership with leading premium lifestyle and luxury performance brand TUMI, presented the prestigious ONE World Title belt to the World Champions.ONE on Prime Video 3 Photo Gallery: https://tinyurl.com/yn93zu83ONE on Prime Video 3 Official Scorecards: https://tinyurl.com/3ejexxt6The main event showdown between former ONE Bantamweight World Champion John Lineker and #2-ranked contender Fabricio Andrade ended in controversy midway through the third round, after Andrade connected with an unintentional knee to Lineker's groin.The two bitter rivals traded bombs from the sound of the opening bell, with "Wonder Boy" looking to push forward behind a stinging right jab. Lineker found openings to land his thunderous hooks, rocking Andrade in the second round. However, the younger fighter did considerable damage to Lineker with his striking, causing the veteran's right eye to nearly close by the end of the frame.In the third stanza, Andrade connected with a knee to the midsection and had Lineker reeling in pain. "Wonder Boy" tried to follow up with another knee, but it unintentionally landed south of the waistline. After a five-minute recovery period, Lineker could no longer continue. The fight was ruled a no contest and the ONE Bantamweight World Title now remains vacant.In the co-main event, Regian Eersel became a two-sport ONE World Champion, capturing the inaugural ONE Lightweight Muay Thai World Title behind an efficient striking display against Thai star Sinsamut Klinmee. Action was fierce throughout the five-round contest, with both men trading combinations while taking each other's best shots. Sinsamut was game from start to end, wearing Eersel's damage on his face well. But the Dutch-Surinamese fighter was just too good, as "The Immortal" increased his aggression in the championship rounds to take the split-decision victory.Teenage Brazilian Jiu-Jitsu sensation Kade Ruotolo captured the inaugural ONE Lightweight Submission Grappling World Title, defeating multi-time Sambo World Champion Uali Kurzhev via heel hook. Ruotolo was constantly on the attack, but once he trapped Kurzhev in a leg lock situation, the American grabbed ahold of the heel and put pressure on the knee to force the tap. Ruotolo also received a US$50,000 bonus for his performance.In a featherweight kickboxing contest, Sitthichai Sitsongpeenong and Mohammed Boutasaa figured in an all-out war of attrition for three rounds. The two met each other at the center of the Circle and looked to trade bombs in the opening stanza. Boutasaa went on the offensive in round two, as Sitthichai opted to lay back and counter. In the third frame, the Thai star came alive, moving forward with a sense of purpose. In the end, all three judges saw the bout in favor of Sitthichai to win by unanimous decision.ONE Championship newcomer Shamil Gasanov made quick work of #2-ranked featherweight MMA contender Kim Jae Woong in his promotional debut, submitting the South Korean dynamo with a rear-naked choke in the first round. Gasanov closed the distance early and swiftly took Kim's back with an explosive takedown. After a quick scramble, the Russian's left arm wound up underneath Kim's chin as he cranked out the rear-naked choke. His performance earned him a US$50,000 bonus.READ: Gasanov, Miado, Grandjean Score Highlight-Reel Finishes In The MMA Fights At ONE On Prime Video 3: https://tinyurl.com/m7y9jdk3READ: Sitthichai, Naito, Zatout Victorious At ONE On Prime Video 3: Lineker Vs. Andrade: https://tinyurl.com/2p9yvfe7Performance bonus winners: Kade Ruotolo (US$50,000), Shamil Gasanov (US$50,000), Mehdi Zatout (US$50,000), Noelle Grandjean (US$50,000)MAIN CARDMMA - Catchweight (145.50 lbs): John Lineker vs. Fabricio Andrade is declared a no contest in round threeMuay Thai - Lightweight: Regian Eersel def. Sinsamut Klinmee via Split DecisionSubmission Grappling - Catchweight (174.00 lbs): Kade Ruotolo def. Uali Kurzhev via Submission (Heel Hook) at 4:26Kickboxing - Featherweight: Sitthichai Sitsongpeenong def. Mohammed Boutasaa via Unanimous DecisionMMA - Featherweight: Shamil Gasanov def. Kim Jae Woong via Submission (Rear-Naked Choke) at 2:09 of R1LEAD CARDMMA - Catchweight (127.00 lbs): Jeremy Miado def. Danial Williams via TKO at 0:31 of R3Muay Thai - Flyweight: Taiki Naito def. Amir Naseri via Unanimous DecisionMuay Thai - Bantamweight: Mehdi Zatout def. Asa Ten Pow via TKO at 3:00 of R1MMA - Catchweight (116.75 lbs): Noelle Grandjean def. Lea Bivins via TKO at 4:01 of R1IN-STADIUM (AFTER EVENT)MMA - Featherweight: Yoon Chang Min def. Keanu Subba via Unanimous DecisionMMA - Welterweight: Agilan Thani def. Ilja Stojanov via Submission (Rear-Naked Choke) at 1:48 of R2About ONE Championship(TM)ONE is the world's largest martial arts organization, ranking among the world's top five sports properties for viewership and engagement with a cumulative reach of over 400 million fans, according to Nielsen. ONE produces and distributes world-class events across more than 150 countries, featuring martial artists and World Champions from over 80 nations and all styles of martial arts including MMA, Muay Thai, kickboxing, Brazilian jiu-jitsu, and more. ONE can be viewed on many of the largest global free-to-air and digital broadcasters, including Prime Video Sports, ELEVEN Sports, Star Sports, Beijing TV, iQIYI, One Sports, Abema, IB, NET TV, Vidio, Startimes, Mediapro, Thairath TV, VieOn, Skynet, Mediacorp, Spark Sport, Match TV, Dubai Sports, RedeTV and more. Copyright 2022 ACN Newswire. All rights reserved. (via SEAPRWire)

ACN Newswire

Indonesia Market Poised for Big Growth in Streaming

11 10 月, 2022

JAKARTA, Oct 11, 2022 - (ACN Newswire via SEAPRWire.com) - For the first time in three years the Asia Video Industry Association (AVIA) returned to Jakarta to host Indonesia in View 2022, an event that welcomed some of the industry's biggest players for a day of discussions dissecting the opportunities for growth in this expansive market.Opening comments were made by Yuliandre Darwis, Commissioner with the Indonesian Broadcasting Commission (KPI) who talked about the development of the KPI over the last twenty years, and the hope for revisions to the broadcasting law which could see greater responsibilities given to them.Highlights of the Indonesia in View Report, to be published by AVIA, were given by Bettina Cavenagh, President Director, Clarity Research Indonesia, outlining the state of Indonesia's video markets in the post-pandemic economy. Pay television had plateaued and while DTH services were the biggest victims of increased broadband penetration, cable numbers were increasing meaning the overall pay TV market remained significant, even if ARPU's were under pressure. But all eyes were now on the premium OTT market. Subscription Video on Demand (SVOD) has grown by more than 50% from 2020 to 2021, to 11.5M subscribers, while digital advertising grew by 33% over the same period. This set the scene for much debate throughout the conference on the relative merits of the subscription versus the advertising led business model for OTT.In a conversation around growth and monetization, Hermawan Sutanto, COO of Vidio talked of the need to educate the market to pay for premium OTT services and Guntur Siboro, Country Head for Lionsgate Play further made the point that ad supported VOD (AVOD) was a different ballgame which required significant investment to monetise successfully. Whatever the business model, Avijit Duta, Deputy Country Manager for Viu, emphasized the need for the business to be sustainable and everyone was witnessing rising production costs as the production talent pool was still limited today. In his keynote conversation, Sutanto Hartono, Managing Director of EMTEK and CEO of SCM and Vidio, discussed Vidio's emphasis on local originals and live sports as differentiators in their quest to acquire customers and keep churn down. While sports rights were expensive and not owned in perpetuity, they played a crucial role in a growth strategy. Marlo Budiman, CEO & President Director, Link Net, later added that while the pay TV market had plateaued, its death knell had not quite sounded yet and also attributed this to the role of sports and original content keeping OTT churn low.Clarissa Tanoesoedibjo, Managing Director of MNC's Vision+, also talked about the importance of local original content and that Vision+ was increasing their investment in this sector for the service. She also pointed out that while Vision+ was primarily subscription led, the accompanying RCTI+ service was advertising led.There was little doubt about the importance advertising played in the growth prospects for the market when Gavin Buxton, Managing Director, Asia for Magnite, Florencia Eka, Country Manager, Client Services, for The Trade Desk, and Lesley Simpson, Country Manager for WeTV and iflix Indonesia, got together. They agreed that OTT was the natural evolution of TV and provided unique opportunities for digital advertisers given the engagement with viewers. And while fragmentation of services was an issue, it was clear that there was more than enough scale in premium OTT as they looked forward to sustained growth in the sector.Indonesia in View is generously sponsored by Gold Sponsors A+E Networks, Vidio and Vision+ and Silver Sponsors Akamai, Broadpeak, CDNetworks, Conviva, INVIDI, Irdeto, NAGRA, SES, TV5MONDE and YouTube. About the Asia Video Industry AssociationThe Asia Video Industry Association (AVIA) is the trade association for the video industry and satellite ecosystem in Asia Pacific. It serves to make the video industry stronger and healthier through promoting the common interests of its members. The AVIA is the interlocutor for these industries with governments across the region, leads the fight against video piracy through its Coalition Against Piracy (CAP) and provides insight into the video industry through reports and conferences aimed to support a vibrant video industry. For media enquiries and additional background, contact: Charmaine KwanHead of Marketing and CommunicationsEmail: charmaine@avia.orgWebsite: www.avia.orgLinkedIn: www.linkedin.com/company/asiavideoiaTwitter: @AsiaVideoIA Copyright 2022 ACN Newswire. All rights reserved. (via SEAPRWire)

ACN Newswire

Philippine Industry Body Launched for Stronger Content Protection and Anti-Piracy Efforts

29 9 月, 2022

MANILA, Sep 29, 2022 - (ACN Newswire via SEAPRWire.com) - Today, leading Philippine industry players including, Globe, GMA Network, Inc., Cignal TV, Inc, KROMA Entertainment and Smart Communications, Inc, joined hands with the Asia Video Industry Association's (AVIA) Coalition Against Piracy (CAP) to announce the formation of the Video Coalition of the Philippines (VCP). The VCP aims to push for stronger intellectual property protection in the Philippines that will protect both original content and users, as well as promote the Philippines creative and media industries, not only in the Philippines but around the world. VCP convenors will build on the momentum of the presentation of the proposed Revised Intellectual Property Code in the Philippines' 19th Congress in July and the recent Protection of Online Content Summit held on September 2 in Manila. House Bill No. 0799, filed by Albay 2nd District Rep. Joey Salceda, aims to update the Philippines' patent application system and make it "more attuned to the digital age." It also "provides for technologies and media that were not anticipated" at the time the intellectual property code was enacted. Proposed revisions also give regulators greater authority to combat IP violations, including the power to issue "permanent blocking orders, takedown orders, cease-and-desist, or disable access orders" against websites, service providers, and online platforms, including social media. The current IP code does not cover electronic or online content in its definition of pirated goods and lacks clear provisions that would allow for efficient and effective site blocking, and other interventions against online IP violations. CAP General Manager Matt Cheetham said, "With the presentation of Bill No. 0799, "An Act Establishing for the Revised Intellectual Property Code of the Philippines" to the House, the Philippines has a golden opportunity to not only update and future proof its intellectual property regime, but to act as a launching pad for intellectual property to protect consumers and advance the overall Philippine economy." Cheetham further noted CAP's recent YouGov survey showed Philippine consumers believe a government regulation for Internet Service Providers (ISPs) to block pirated content would be the most effective measure to reduce piracy in the Philippines. Globe, the Philippines' leading digital solutions platform, has been an advocate of anti-piracy through its #PlayItRight advocacy. Globe hopes to rally consumers and stakeholders behind original content creators by making online content affordable and accessible via content subscription. "Revising the Intellectual Property Code will go a long way in protecting Filipino consumers from the dangers that lurk in pirate sites and improving cybersecurity in the country, especially as Filipinos now rely heavily on digital platforms," said Globe Chief Information Security Officer Anton Bonifacio. Yoly Crisanto, Globe Group Chief Sustainability and Corporate Communications Officer, said revising the IP Code is necessary to improve the country's regulatory environment just as the government aims for greater digitalization. "The use of digital technologies and platforms is expected to further expand in the years to come, whether it be for education, finance, health or recreation. It is, therefore, urgent that we provide better protection for the creative industry and give them a secure environment conducive to creativity and innovation," said Crisanto. "Upholding intellectual property rights in the Philippines enables the creative industry to grow and thrive. KROMA, through the Video Coalition of the Philippines, is committed to collaborate with stakeholders to ensure that this is observed, for the industry's success and sustainability," said Jil Go, KROMA's Head of Broadcast and Publishing."GMA's participation in the Video Coalition of the Philippines presents an opportunity to further strengthen our existing anti-piracy initiatives by working with other players in the industry to push for the implementation of site blocking mechanisms and help protect our viewers and GMA content against unauthorized uploaders," said Joseph T. Francia, First Vice President and Head of Operations, GMA International.Pointing to the impact of site blocking in Indonesia, where traffic to pirate sites has dropped by more than 75% since the government implemented their rolling site blocking procedures in 2019, Cheetham further noted, "The effectiveness of site blocking is backed up by CAP's most recent YouGov consumer surveys in which more than 50% of Indonesian consumers say that they have stopped or rarely access pirate services as a result of the highly efficient and effective blocking measures in place there.""Perhaps more importantly, 76% of Indonesian consumers say they are accessing more legal content and pirating less, and 26% have subscribed to legitimate sources as a result of illegal streaming sites being blocked. Blocking as an educational tool may also be evident in 95% of Indonesian consumers agreeing that online piracy does have negative consequences - the highest in the region," said Cheetham. When done efficiently and effectively, site blocking has a massive impact on combating piracy, changing attitudes and protecting consumers. About the Asia Video Industry Association The Asia Video Industry Association (AVIA) is the trade association for the video industry and ecosystem in Asia Pacific. It serves to make the video industry stronger and healthier through promoting the common interests of its members. AVIA is the interlocutor for the industry with governments across the region, leads the fight against video piracy through its Coalition Against Piracy (CAP) and provides insight into the video industry through reports and conferences aimed to support a vibrant video industry. For media enquiries and additional background please contact:Charmaine KwanHead of Marketing and CommunicationsEmail: charmaine@avia.orgWebsite: www.avia.org Copyright 2022 ACN Newswire. All rights reserved. (via SEAPRWire)

ACN Newswire

AVIA Releases OTT Study in Singapore at its First OTT Upfront Showcase Presenting Premium Content at its Best

12 9 月, 2022

Singapore, Sep 12, 2022 - (ACN Newswire via SEAPRWire.com) - The Asia Video Industry Association (AVIA) has released a new research study entitled Premium OTT - Building its Rightful Place in the Digital Market, to understand the usage of different video services in Singapore and attitudes towards them. The independent research study conducted by Milieu Insight was unveiled to agencies, advertisers and brands at AVIA's first OTT Upfront Showcase where two of the region's top premium video services, iQIYI and Viu, presented previews and highlights of their upcoming slate of content to the audience at a closed-door event. The research shows that Premium OTT streaming services (OTT) are clearly differentiated from videos viewed on social media or video sharing sites. OTT was highly valued by consumers in Singapore for having the highest quality content. 58% of respondents indicated that they felt premium OTT services had high quality content, compared to only 36% for social media and video sharing services. Similarly, when asked which video services they generally felt captured the highest levels of attention while watching, 49% of respondents selected OTT streaming services, compared to only 35% who selected social media and video sharing services. Levels of engagement were also entirely different with 51% of people feeling immersed when watching OTT content as opposed to only 39% for social media & video sharing. Top emotions elicited when watching OTT were happiness and amusement whereas for social media and video sharing, the top emotion was "nothing". When looking at the impact of advertising, linear television remains the place where it is most noticed (76%) and ads are thought to be the highest quality (41%), although it is in social media where ads feel most intrusive (37%). Linear was again the winner when it came to prompting brand or product searches (25%) and prompting purchase (19%). Louis Boswell, CEO, AVIA, commented that this "Bodes well for the OTT industry. There is a clear link between linear television and OTT from a content perspective, and with more OTT services looking at advertising, I strongly suspect it is simply a matter of time before the effectiveness of ads on OTT matches that of linear television." Dinesh Ratnam, Country Manager, Singapore, Malaysia and Brunei, iQIYI International, commented, "AVIA's research further cements the rise of OTT and the appreciation for the premium content on OTT platforms. As the OTT industry continues evolving and becoming more accessible, its audience is also looking for more diverse content. With the global success of shows such as iQIYI's original costume drama Story of Yanxi Palace drawing a global audience larger than that of Game of Thrones, the rise of Asian content is also drawing in larger, more diverse audiences. We are thrilled to be a part of AVIA's inaugural OTT Upfront Showcase in Singapore and to have the opportunity to showcase our exciting slate to advertisers and partners."AVIA thanks its members Magnite, PubMatic, The Trade Desk, and Xandr for supporting the OTT Upfront Showcase and the same companies plus Index Exchange for supporting the research. A link to the research study entitled Premium OTT - Building its Rightful Place in the Digital Market can be downloaded here (https://bit.ly/3L4lrMD). About the Premium OTT StudyThe study, Premium OTT - Building its Rightful Place in the Digital Market, was conducted in Singapore by Milieu Insight Pte Ltd, with online fieldwork using Milieu Insight's online panel. The sample size was n=1200 and was representative of the Singapore adult population aged 16+. Premium OTT Services listed in the study were as follows: Amazon Prime, Apple TV+, Disney+, HBO Go, iQIYI, meWATCH, Netflix, Singtel Cast, StarHub TV+, Viu and WeTV. Social Media and Video Sharing Services listed were: Daily Motion, Facebook, Instagram, Snapchat, Telegram, TikTok, Twitter, Vimeo, WhatsApp and YouTube. About the Asia Video Industry AssociationThe Asia Video Industry Association (AVIA) is the trade association for the video industry and ecosystem in Asia Pacific. It serves to make the video industry stronger and healthier through promoting the common interests of its members. AVIA is the interlocutor for the industry with governments across the region, leads the fight against video piracy through its Coalition Against Piracy (CAP) and provides insight into the video industry through reports and conferences aimed to support a vibrant video industry. For media enquiries and additional background please contact:Charmaine KwanHead of Marketing and CommunicationsEmail: charmaine@avia.orgWebsite: www.avia.orgLinkedIn: www.linkedin.com/company/asiavideoiaTwitter: @AsiaVideoIA Copyright 2022 ACN Newswire. All rights reserved. (via SEAPRWire)

ACN Newswire

Korean Content Powerhouse Shaping the Entire Asian Video Landscape

1 9 月, 2022

Singapore, Sep 1, 2022 - (ACN Newswire via SEAPRWire.com) - The Asia Video Industry Association (AVIA) welcomed over 200 delegates from across the region for its first ever Korean focused conference and its first in market event since 2019, with Korea in View, which took place on 30 August at the Westin Josun, Seoul. To set the scene, AVIA CEO Louis Boswell presented key highlights from AVIA's Korea in View 2022 Report. Ranking 10th among the world's largest economies and 4th in Asia, South Korea had risen from one of the poorest countries in the world to a developed, high-income country in just one generation. The pay TV market continued to show growth of 2.7% per year, now dominated by IPTV, while streaming services were accelerating at breakneck speed, seeing paid subscribers increasing from 20.4% of the population in 2020 to 34.8% in 2021. In his opening speech, keynote speaker, Vice Chairman Ahn Hyoung-hwan of the Korea Communications Commission (KCC) shared that while OTT growth was an opportunity for the content industry to grow, it was also resulting in a sense of crisis for existing legacy media. Hence the KCC was preparing the Audio-Visual Media Service Act and was pushing for innovative deregulation of the existing regulations on advertising and programming.The day spanned multiple conversations about the strength of Korean content and how that was fuelling the success of both Korean streaming platforms as well as international, with Marianne Lee, Chief of Content Acquisition and Development, Viu and Junbeom Jeon, Chief Leader, Wavve, both agreeing that this investment in local content was the key to survival. Such demand, however, was also clearly fuelling a rapid escalation in content costs and while Hyun Park, Senior Vice President, Global Division of Studio Dragon commented that from a Hollywood perspective Korea still presented great value for money, there needed to be a cap on costs before they got out of hand. He also noted, "We are definitely not at the peak of production, we are only at the beginning." The roles of international and Korean streaming platforms were also examined with Esther Ahn, Vice President, Streaming, Korea, Paramount, explaining the recent introduction of Paramount+ to the market in partnership with CJ-backed TVING. The partnership spanned making Paramount content available within the TVING service in Korea as well as co-producing Korean content with a view to Korean and international audiences. TVING CEO Jay Yang also talked about the desire to be able to take the best Korean content overseas and deliver it through a Korean streaming platform, although he did not believe Korean content should only be on Korean platforms. But as in the same way Korean content was on international platforms, the Paramount+ deal also saw international content on a Korean platform. Ultimately streaming platforms wanted the best content no matter its origin. The advertising market was also seeing the traditional markets of TV, Print and Radio declining but there has been significant growth in digital. This was an opportunity that both Bong-Su Kim, Addressable TV Ad Team Leader, SK Broadband and Vijay Kunduri, Regional Vice President, OTT/CTV, APAC, PubMatic, felt needed to be exploited with the growth of ad supported VOD or streaming services, with both being confident that this space would evolve quickly in the next two years in Korea.Rounding up the day's sentiments, Louis Boswell highlighted the importance of the Korean market not just because of the impressive growth it had seen for video content, but because of the influence Korean content has had across the region, and also the early stages of Korean streaming platforms looking to enter other Asian markets. "It is not possible to look at the Asian video industry without looking at Korea," added Boswell. Korea in View is generously sponsored by Brightcove, BytePlus, Conviva, Google Cloud, Irdeto, NAGRA, Paramount and TV5Monde.About the Asia Video Industry Association:The Asia Video Industry Association (AVIA) is the trade association for the video industry and satellite ecosystem in Asia Pacific. It serves to make the video industry stronger and healthier through promoting the common interests of its members. The AVIA is the interlocutor for these industries with governments across the region, leads the fight against video piracy through its Coalition Against Piracy (CAP) and provides insight into the video industry through reports and conferences aimed to support a vibrant video industry. For media enquiries and additional background, contact: Charmaine KwanHead of Marketing and CommunicationsEmail: charmaine@avia.orgWebsite: www.avia.orgLinkedIn: www.linkedin.com/company/asiavideoiaTwitter: @AsiaVideoIA Copyright 2022 ACN Newswire. All rights reserved. (via SEAPRWire)