#Unreel.me – Powering OTT for the Largest Networks in the World!

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Unreel Launches New Food Focused OTT Streaming Service

Unreel is proud to officially announce the launch of Taste It TV, an OTT streaming service for those who love to cook, eat or think about food.  With 20,000 users already, across ROKU, tvOS/ iOS and Android, we are proud to deliver content fueling the passions of foodies everywhere.

  With new content uploaded daily, Taste It covers all areas of the culinary world, bringing viewers a wide variety of food content in video format.  We have partnered with some of the most popular food shows and channels around, allowing users to stream content from Saveur, Epic Meal Time (which has 6.9 million YouTube subscribers), Epicurious and more.

  Our goal for Taste It is to become as synonymous with food content as HBO is with movies and shows. By leveraging Unreel’s tech platform and syndication library available to all partners, Taste It was able to launch across all platforms, loaded with appropriate content in less than two weeks.  With this support, Taste It is already better suited than any other food focused streaming service to dominate at OTT moving forward.

  One of the greatest advantages Unreel provides a streaming service like Taste It is access to our syndication program. This means Taste It can seamlessly distribute content from our other  partners on the platform, as well as offer up its own content to be distributed within our network of millions of users. From day one, Taste It had a massive offering of content, and instantly reached significant audiences to start monetizing.

  To learn more about how you can launch your own streaming service similar to Taste It, please visit www.unreel.me

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1.5 Million Reasons to Celebrate Unreel’s Newest Board Members

We are proud to announce a new $1.5 million raise in Pre-Series A financing led by Michael Kelly, CEO of IoT Broadband, LLC and former executive at DISH Network and Blockbuster, alongside a select group of media-focused angel investors.

  As part of the financing, we have also added Michael Kelly to our board of directors along with John Pavia, Executive Vice President of Business & Corporate Development at LogicSource, a Bain Capital Ventures portfolio company based in Norwalk, Conn. Over the last 20 years, Pavia has played a pivotal role in the growth of several early-stage and mature companies.

  Michael and John bring a wealth of experience in the entertainment and digital video space to the Unreel team, and we are incredibly excited to welcome them to our family. As members of the board they will help guide strategic and operational strategy to further fortify Unreel’s position as an OTT market leader. Both highly regarded veterans of the industry envision a future for Over-the-top video that is dominated by Unreel’s B2B platform and consumer facing services; now they are motivated to make that a reality. As a company, we more confident than ever that Unreel is on the optimal path to fulfill our vision with the experienced leadership in place necessary to do so.

  The financing from this round affords Unreel a comfortable extension to our runway as we undertake the process of raising a proper Series A round. The new funds will be used to expand the team, support the growth of our O&O and partners’ streaming services, and scale the company to support larger industry leading customers. A larger team will enable us to expedite many of the technical and design initiatives on our roadmap, as well as allow our head engineer to triple his nightly sleep from 1 to 3 hours. A significant portion of the raise reserved for marketing will mainly be applied to native ads on ROKU, Apple and Android to promote our own and partners’ streaming services. We continue to see a strong ROI via those platforms, and expect that to scale as it is ramped up. Budget will also be allocated towards streaming and storage services – costs we feel strongly about covering ourselves rather than passing along to partners. Last but not least, we plan on spending a small, but very necessary, portion of the raise to buy our office doggo, Pumba, a new bed.

  The OTT market is booming as content owners continue to take ownership of their distribution channels. With $25 billion in annual revenue, the OTT industry is predicted to exceed $64 billion in the next four years. In fact, Juniper Research predicts total global revenues of $120 billion by 2022. Brands who partner with Unreel ensure they’re staying ahead of the game in the OTT video market, as they are given access to valuable tools to help them succeed.

  “Unreel’s belief is that the future of media and entertainment will evolve from the traditional Satellite and Cable TV model to look much more like the internet, where content moves seamlessly to consumers wherever and whenever they want it,” said our CEO, Dan Goikhman. “With this funding, we can continue to grow the company’s technology platform to universally on-board and distribute content, enabling the frictionless distribution of content.

  The emergence of a huge market opportunity coinciding with our continuously improving platform and team feels like the perfect OTT storm is forming with Unreel at the center. 2018 is beginning with Unreel in prime position to claim a large share of the growing OTT market thanks in large part to the new funding and board members.

To learn more about how Unreel is helping networks, publishers, and content owners take on OTT distribution, click here!

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[hinge]

Hinge presents an anthology of love stories almost never told. Read more on https://no-ordinary-love.co

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Unreel’s 6 Bold Predictions for OTT in 2018

This past year was a fast paced whirlwind ride for streaming video.  From Disney’s purge of Netflix, to the wild inflation of predicted OTT revenue set to reach $120 billion by 2022, any one paying attention to this space probably had their head spinning most of 2017[1].  Without a chance to catch one’s breath, 2018 promises to bring about just as much change, as the fledgling OTT industry continues its march on to maturity.

  For Unreel, 2017 brought about significant developments as well.  New partners, new opportunities, and new features led to huge growth that is expected to continue forward exponentially in the New Year.  With our finger on the pulse of everything streaming, here are Unreel’s 6 bold predictions for 2018.

  1. ROKU remains  the largest OTT platform in the US, despite Apple’s and Amazon’s best efforts.

  It is hard to qualify Roku as an underdog considering where they finished in 2017.  With 40 million monthly active users, their size is nearly double Apple TV’s and 5 million greater than Amazon Fire TV’s[2] . Although the undisputed leader in the space today, Roku has a target on its back, with two of the largest corporations in the world well within striking distance and taking aim.  Apple, with its revamped 4K Apple TV and new billion dollar annual content budget has renewed its commitment to become number one after Tim Cook predicted ‘the future of TV is apps’ all the way back in 2015 [3]. Meanwhile Fire TV, with competitive pricing and the support of the Amazon beast including Amazon Prime, is also vying to dethrone Roku.

  Despite fighting in a multiple front war, Roku has two distinct advantages that will allow it to stave off the competition for at least one more year. The first edge Roku has is variety.  In 2018 1 out of every 8 TVs sold in the US will run on Roku’s operating system[3]. Roku also offers several different models of its streaming hardware, ranging from a bottom of the market, no frills stick, to a full-fledged HD black box model. Roku serves up so many incarnations of its platform that at least one fits the needs of every consumer. Roku’s other advantage is content.  Without a streaming service of its own, Roku has the flexibility to be fully agnostic when it comes to content. This along with a strong discovery experience has allowed Roku to grow to over 5,000 unique apps (channels) on the platform, far more than Apple and Fire Stick combined.  Roku sits on an embarrassment of riches when it comes to content, and it will continue to be their beacon, drawing increased users in 2018.

  2. Consumer brands not known for content will launch streaming services on OTT.

  In the same way brands flocked to YouTube in the last decade, 2018 will be the year they take their content to the next level and launch multi-platform streaming services.  It is a strategy that companies like Red Bull, with Red Bull TV, have already seen value in for years. Moving onto living room screens with an OTT streaming service that offers both original and syndicated content has now become cost effective for non-tech savvy brands.  The ability to engage with consumers beyond just the web, by providing them with entertainment and branded messaging on every device, has immense value.

  The benefits of an OTT streaming service for companies are clear; everyone wants to be a ‘lifestyle’ brand that connects with consumers in a certain niche’, large or small.  However, in the past the cost of technology and a compelling content strategy prevented most brands from doing so. In 2018 the friction to launch on OTT will be reduced to the point that any brand will be able to become a streaming service. For brands that have not yet begun producing video at scale, endless content to appeal to any target market can be seamlessly syndicated on a pure revenue share basis. The year 2018 will see brands no one ever thought would go OTT do precisely that.

  3. OTT will be the largest new source of revenue for publishers.

  Much as with consumer brands, the cost for publishers to launch OTT streaming services around their top publications and fill them with content has plummeted. This prediction goes a step further however; publishers who adopt this strategy will see OTT become their most lucrative new revenue stream in 2018.  Magazines in particular occupy a prime position to leverage their brand into a streaming service.  With an addressable, passionate audience and thorough understanding of what interests them, expanding from text on paper to video on OTT just makes sense.  Niche’ verticals are equally as popular on OTT platforms as they are on the newsstand, and magazine brands are situated to take full advantage.  Even for publishers green to the video world, syndicating content known to be of interest to fans has become simple and more than enough to begin generating new revenue.

  4. Netflix will not skip a beat losing Disney content.

  Perhaps the biggest news of 2017 in the OTT world was the earth-shaking announcement that Disney would not only pull its content from Netflix over the next few years, but also create its own competitive SVOD services. It is hard to argue that Disney content is not a significant part of Netflix’s library, but Netflix is prepared.  According to Netflix’s chief content officer Ted Sarandos, this move has been expected for years[4] .  Netflix has always known the day would come when the studios turn on them, and that is why their budget for original content has skyrocketed year-by-year.  The point for Disney and studios to kill Netflix by withholding content has past.  Although it stings to no longer offer Pixar, Star Wars, or most Marvel content, there will be many more Stranger Things, Houses of Cards and Masters of None to keep consumers Netflix and chilling throughout 2018.

  5. Apple starts to get content right.

  Netflix has demonstrated the importance and high cost of producing successful original content and Apple has taken notice.  After a disappointing toe-dip into the content game in 2017 for Apple, with Carpool Karaoke and Planet of the Apps somewhat tanking, the company is ready to double down with its immense cash reserves backing their bet.   More telling is the hires Apple has made as 2017 comes to a close. Apple has been acquiring a stable of seasoned content veterans including Jamie Ehrlicht and Zack Van Amburg, former Sony TV executives best known as the producers of Breaking Bad, Jay Hunt of British TV fame, and most recently four Chief level employees of Amazon prime [5] .  A team with a proven track record and unlimited resources can only mean Apple is on the right track to give Netflix and gang a run for their money.

  6. Studios and entertainment companies finally figure out how to use Big Data to inform content strategy.

  The vast user-data that Netflix, Amazon and Facebook lean on to make virtually every content decision will finally be available to non-tech focused ‘old-school’ content developers.  With advanced streaming services of their own, the old Hollywood studios and networks can finally go beyond Nielsen data to understand their viewers, identify trends, and turn creative decisions into strategic ones by relying on new data, once beyond their grasp.

  Want to learn more about how Unreel is helping make this future a reality? Click here!

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The New Unreel Embed Plugin for WordPress

We are proud to announce the release of the brand new Unreel embed plugin for WordPress! This super simple tool allows any of our partners to seamlessly integrate their entire video library hosted on Unreel into their WordPress site. Nearly 17% of the entire web runs on Word Press websites and now every single one of them can embed monetized content hosted on Unreel.me powered sites.

  For our partners, this plugin presents an easy way to incorporate a monetized video player within the branded experience of their site. All the advantages of the Unreel platform can now be reaped while remaining on the WordPress platform.

  How it works:

1. Go to Unreel.me and launch a video streaming site for free.

2. Sync your content from YouTube, Facebook, a cloud storage system, or upload video directly in our admin dashboard.

3. From your Unreel.me powered site, copy the URL of the video you would like to embed.

4. Install the Unreel Embed Plugin on your WordPress site and paste the video URL into the embed.

5. If you would like, the size/dimensions of the player can be further configured optionally within the short-code setup process to match your WordPress site page.

Once up and running, the Unreel embed on your site will deliver ads just as it would on any of your other Unreel powered properties.

  To learn more about the advantages of the Unreel.me platform and why it is the best video embed option for a WordPress site, click here.

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The Curious Case Study of Halloween Flix

Two of the largest advantages Unreel has over the competition is the ability to launch new OTT streaming services across every platform in a matter of hours and days, instead of weeks and months, and the seamless flow of content within our ecosystem. These are two strengths of ours, among many, that no one else in the industry can hold a candle to.  Although we flex our muscles by doing both of these things on a daily basis, few brands better exemplify the abilities of the Unreel platform than our new streaming service, Halloween Flix.

  Launch in days:

  Rewind to 3 weeks before Halloween — a sudden horrifying realization strikes Unreel’s internal content team — a Halloween focused streaming service might do incredibly well during October.  Already a week into the month, the time to put this strategy into action was rapidly slipping away.  In a matter of a day our team put together design assets for a new brand and ingested content into the new streaming service, Halloween Flix. The following day, Halloween Flix launched as an AVOD supported app on ROKU.  

  The new brand was brought to life and thrusted out into the ROKU channel store to fend for itself with zero marketing support.  Fortunately, our hunch was correct, there was strong demand for seasonal niche’ apps, and Halloween Flix took off. The app received over 23,000 organic downloads in the few short weeks leading up to Halloween, however there was a significant issue.  Users were pouring in, but they were also pouring out. Average view times per session were running under 6 minutes, and the uninstall rate was over 80%!

  Seamless Syndication:

  Unreel had built a strong brand that proved enticing enough to stand out in the app store, but there was a problem.  The videos within Halloween Flix left much to be desired.  Our launch was an experiment and we rushed to piece together content that we had license to use from creators whose videos vaguely fit into a Halloween theme.  Users seeking scares were greeted by vlogs and top 10 lists.

  With strong organic growth, we had the evidence to confirm our hypothesis — holiday focused vertical apps have significant demand. This proof made it easy to convince several partners with extensive premium movie libraries, who currently use the Unreel platform to power their own OTT streaming services, to syndicate their horror movies to Halloween Flix on a rev-share model.  On October 20th permission was asked to distribute their movies to Halloween Flix.  On October 21st  the green light was given, and instantly 40 full length movies were added to the service. By October 22nd, view times had ballooned to over 40 minutes per session, and the churn rate was cut by more than half.   Overnight Halloween Flix turned an inactive user-base into engaged fans.  To close out the season, on Halloween the service received over 30,000 minutes watched.  In three weeks Unreel invented a brand, launched an app, integrated premium content, received 23,000 installs and developed an active user-base — all while spending next to nothing.

  How it worked:

  To set up a new streaming service Unreel simply needs design assets and a destination to ingest content from.  Our white-labeled platform with modular design means there is little to no upfront development work necessary to launch apps with a custom feel and function on every OTT platform.  The time consuming process of building a sophisticated backend with the complex architecture to handle the requirements of a streaming service has already been completed; all that’s left to do is plug-and-play.   Of course Unreel is more than a cookie-cutter white-labeled OTT app shop, learn more about Unreel’s advantages and our 4 patents here.

  Once content is ingested into our platform, either by direct upload or synced from a feed/source, those videos can then easily flow to any Unreel powered streaming service.  For partners with multiple brands, this makes it very simple to organize and manage content across their entire network; sending videos to and from each of their properties.   This also allows for seamless syndication from one partner on the Unreel platform to another, as was the case with Halloween Flix.  There are already over 3 million videos in our ecosystem that can instantly be distributed on any Unreel powered service.

  Interested in working with Unreel to quickly launch your own OTT streaming service?  Learn more here.

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Content May Be King, But Platform is the Kingdom

The entertainment world has always understood that content is king. Since the days of silent films, the notion that quality is the primary factor of success has stood firm.  It is hard to argue against this paradigm; a content owner’s goal is to profit, revenue is dependent on viewership, and consumers only view things that interest them.  It stands to reason then that producing compelling content to maximize viewership is what matters most.  Content is key because it is the primary reason audiences tune in, but it is not the only component in generating revenue for content owners. Where viewers consume content is nearly, and sometime equally, as important in determining revenue and who takes the largest cut. However, until now distribution has been largely ignored by content owners for good reason; they had no means to do it themselves.

  Winning at OTT takes more than just good content.

  Owning the destination that viewers tune into, the means of distribution, was once out of reach from content owners; unobtainable as it required the infrastructure to run a global cable outfit or the tech to offer content over-the-top via a seamless UI/UX portal. This meant that although content owners were providing a key ingredient in drawing audiences and revenue, they were reliant on cable and OTT hubs like Netflix to deliver the content and facilitate monetization.  Inevitably this meant splitting the revenue, rarely in the content owners favor.   Now however, the barriers of entry have diminished to the point that it is possible for content owners, the kings, to also own the kingdom, the platform, keeping 100% of the glory and profits by distributing on owned and operated end-points. A model that puts the obligations of marketing, monetization and technology squarely on the shoulders of content owners, but also the lion’s share of the profits in their pocket.

  “Content is the king maker, it’s not the king. The king is the platform. HBO is the king. Netflix is the king. Spotify is the king.  You can not win without owning distribution.” –Jeff Katzenberg, former Walt Disney Chairman.

  Although Katzenberg’s metaphor is bit more on the nose than ours, the point is the same.  Owning distribution is where the power lies. Content may not be a commodity, but it is just a component in the system that maximizes the value a video can provide to an entertainment driven business.  By distribution themselves, content owners take complete control over the experience for users, the data gathered, and the ability to monetize appropriately. All without losing the majority of revenue to a middle-man.

  This of course is exactly what Disney understood when they made the decision to jump the Netflix ship and launch their own branded OTT video streaming service. The benefits for them, as highlighted in a previous Unreel.me Blog post, are plenty:

  “Disney is set to enjoy all of the advantages in which the other major streaming services have indulged in for years.  The primary gain is pure profit. The SVOD re-occurring monthly payment model is a lucrative one and the revenue will all go directly into Disney’s pocket. The other advantage is that Disney now owns the audience watching their content on OTT.  They will be able to recommend to them what Disney wants to be seen, show them ads and promotions for the products and experiences they want to push, and target them via email however they choose.  The other side to owning their audience is Big Data.  The immense amount of information Disney will collect about its fans is invaluable.  To have a profile of the demo and psychographics around each subscriber, and to understand how they engage with content, will guide content creation and marketing for Mickey and crew for years to come.”

  The Costs of your own Platform.

  Disney was able to make such a dramatic move because they found a company that had already developed a platform, and bought them.  Majority share in that company, BAMTech, cost Disney, 2.58 billion dollars. For most networks, publishers and content creators, that number is unrealistic. A much more palatable solution is to find a tech partner, like Unreel, that, similarly to BAMTech, has a fully built out OTT platform. What makes Unreel unique is our model has no upfront development costs making the relationship with the networks and publishers we work with a true partnership. We share in the their success, so it is vital that we arm them with the technology to win at OTT.  We do so with three unique patents around the data we gather, our UI/UX and our video player.  

  You may be a media King with a wealth of quality content, but what good is that if you do not have a kingdom to rule over?

Launch your own OTT platform, take control of your content’s distribution, and be the King of a prosperous kingdom all your own with help from Unreel. 

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[hinge]

Hinge presents an anthology of love stories almost never told. Read more on https://no-ordinary-love.co

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Niche OTT Apps: How We Got to Over 1 Million Minutes Watched per Month!

As we continue to develop apps for top networks, publishers, and creators, it has become increasingly apparent that success hinges on finding an engaged audience.  For larger brands, with a built in fan base, success has correlated directly with their ability to tell those fans about new apps via their already established platforms.  For smaller, or new brands, aside from marketing, the number one factor for revenue potential has been how well the content fits into a narrow, but popular niche’.  On a single OTT platform we have relatively unknown brands receiving millions of minutes watched per month, solely because their very specific genre of content has a large group of passionate fans.  With little to no marketing, we have seen these niche’ brands generate extremely impressive monthly revenue-per-user numbers, as high as $15; an amount that has proven to scale as marketing efforts ramp up.

  With access to our huge library of premium syndicatable content, we have begun launching owned and operated niche’ genre apps with simple “Zone” branding, for example Cute Zone.   Very quickly we have pushed an army of branded apps out, using ROKU as a testing ground, before scaling up onto other more competitive OTT platforms, like iOS and Android. This strategy has gained us 100,000’s of app downloads with minimal marketing and allows us to point these audiences towards our and our partner’s apps with similar content to download.

  Our niche’ app strategy can easily be replicated by any Unreel partner.   Many of the brands we work with are already doing so, using Unreel as their tech and content partner, or in the form of a Joint Venture.  Unreel offers its 5-million plus library of short and long form videos to all of our partners for seamless syndication onto their streaming services.   If you have a brand, or want to launch a new one around a niche’ we can both fortify your content strategy and get you rolled out on OTT platforms in a matter of weeks.   Contact partners@unreel.me to learn more.

  Check out our newest Niche Apps, all live on ROKU!

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2017 Emmys: A Tipping Point for OTT

Most accept that OTT streaming services are the future and cable TV is the past.  The more contested question most recently has been, when will streaming services surpass cable? Not simply in viewership numbers, but as the world’s video zeitgeist.  It may have already happened at the 2017 Emmys.  Even Steven Colbert’s opening monologue highlighted the incredible   growth in viewership and quality of streaming service’s content, jabbing that cable shows like his are merely an afterthought at this point.   Joking aside, is 2017 the tipping point in which streaming services surpass cable in quality and popularity, how did they do it, and is there room for others to join them on their meteoric rise to screen domination?

  For the first time in history the New Three (Netflix, Hulu, Amazon) combined to win more Emmys than the collective efforts of the OG Big Three networks (NBC, ABC, CBS) 32 to 26 to be exact.  Toss the 4th large traditional broadcast network, FOX, into the mix as well and Cable’s biggest names still fall one short of their streaming counterparts. Not to mention that  HBO, with 29 Emmys, none of which were attributed to Game Of Thrones this year, has a business model deeply reliant on their OTT streaming service, HBO GO.  Cable didn’t just get beat for the first time this year, they got clobbered.

  Streaming services dominance at the Emmys this year means a few things.

  The streaming model works at scale:

If producing good content costs an arm and a leg, Emmy award winning content costs the rest of the body.  Streaming services could not afford to put out shows worthy of Emmy consideration were they not seeing a return on investment.  The fact that spending big and going for broke on production value is seen as sound spending for the New Three, means that massive audiences are there and engaged on these services.  Going head-to-head with studios, and beating them at their own game, producing uber-premium content, means that mixes of SVOD and AVOD can support a streaming service with a billion dollar plus content budget.

  Data has never been more important.

Netflix, HULU and Amazon, all still very new to the content game, out-shine nearly every other network, many of whom have been producing series since the beginning of Broadcast TV.  How is it that streaming services can so accurately predict which content will perform well with audiences and award voters?  It is their unparalleled access to data.  Whereas cable TV provides studios with only the typical Neilson psycho and demographics, streaming services are able to measure engagement and trends across 1,000’s of actions at the macro and micro level.  From cohort analysis around different audience behavior, to the preferences of users on an individual basis, streaming services know their viewers inside and out in a way cable networks never can.  Using this data takes the guess work out of producing content, meaning when a streaming service puts out a series, they already know they’ve got a hit on their hands.  The era of Hollywood producers assuming they know what Middle America wants to see is no more.

  Netflix, Hulu and Amazon cannot be stopped.

There was a time when Disney pulling its content from Netflix would be devastating to the young company.  Now, it is unclear if Netflix will even take much of a hit to its bottom line at all.  The point at which studios could have blacklisted streaming services, choosing not to prop them up with their content, and instead crush them by self-distributing over OTT has well past.  

    The question is no longer, can streaming services survive, it is, can networks become streaming services to survive?

          What is next?

  The OTT streaming model works, from a financial and data standpoint, that much is certain now.  Multi-platform digital distribution is winning and will continue to win.  Although the streaming world is currently dominated by three of the early movers, Netflix, HULU, and Amazon, who are not going anywhere, there is a large opportunity with room for many networks at the table.  Broadcast studios are already well situated to capitalize on an OTT strategy, with their large back catalogues of shows, and a consistent schedule of new content. Smaller networks also have a path to success with the ability to fill Niche’ content categories supported by passionate fan bases.

  For some large networks, the solution thus far has been to develop their OTT service in-house. Many have found that instead, working with a tech partner to launch their own  branded streaming service, allows them to focus on their strength, content creation and promotion, rather than technology. Some networks, such as Disney with its unlimited resources, accomplished this by buying their developers outright.  Others see the value of an out-of-the-box OTT solution —     such as Unreel — who can have them up and running with their own branded streaming service in a matter of days with no upfront costs. Unreel’s focus on big data, with patented technology and engagement features, is icing on the OTT cake for networks that partner with them.

  Networks, content creators, and publishers just saw the first Emmys dominated by streaming services.  The time is now for all of them to act and get in on the opportunity to take part in next year’s continued growth for brands who’ve gone all in on OTT.

  To learn how Unreel is helping networks compete at OTT, click here!

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What the Disney Netflix Breakup means for the OTT Landscape

When Disney takes action, the rest of the entertainment world not only takes note, but takes action to react.  The big mouse is rarely a first mover or early adopter when it comes to making a company-altering decision.  Such a move requires years of study, deliberation, and strategizing. When a decision is made, it is a precise reflection of the industry’s direction.  Make no mistake, when Disney removed their content from Netflix and purchased a majority stake in BAMTech to do SVOD OTT services on their own, they also defined the future of content distribution.

  What happened?

Two weeks ago, Disney was still deeply reliant on Netflix, as most major networks and studios are. SVOD OTT continues to be the fastest growing sector of content distribution, and without the means to do it themselves at scale, content owners rely on licensing to established services in order to get their cut of the SVOD pie.  In this case, the profit equation for Disney was simple; they provided the largest titles in entertainment to Netflix  in return for a significant paycheck.  No need to market, worry about technology, or engage with the audience. Netflix has already mastered the OTT experience, and possesses a user-base approaching critical mass; a well-oiled machine able to squeeze more profit out of a film than anyone else can do on their own, until now.

  All of this changed when the barriers to enter the SVOD OTT market dropped to a point that mitigated the risk of ditching Netflix to tolerable levels.  Several factors have aligned that allow content owners like Disney to safely withdraw from traditional digital distribution hubs to go it on their own.  Consumers have vigorously expressed their preference to pay for SVOD services rather than a cable package, the growing ubiquity of devices to access an SVOD service conveniently, and the reduced price and effort to handle the technology necessary to run such a service from both a backend and UI/UX standpoint.

  How it was possible

The decline of cable is a well-documented phenomenon that has coincided with the proliferation of OTT devices for viewing content.  By the end of 2017, 25% of households will officially “Cut Cable[1]” with 35% of  millennials never having it at all[2].  The younger generations are predicted to have an even more adverse outlook legacy media[3].  Conversely, devices for viewing content via OTT apps have exploded, a trend predicted to continue.  This is why OTT is on track to become a 64 billion dollar industry[4], and why letting the majority of that revenue go to three services (Netflix, Hulu, Amazon Prime), all still new to the original content game, makes no sense for networks and studios.  Rather than propping up Netflix with exclusive content, it was time for Disney to start putting its library to work for itself.

  The final factor that is allowing networks and studios to break free from Netflix and the like is access to technology.  To truly run an SVOD OTT service requires the marriage of several complex and intricate systems, all of which must work seamlessly to provide a unified experience across an ever-expanding number of endpoints. It is not enough to just deliver the right video, streaming at the right quality, that loads at an acceptable rate.  Consumers expect an experience packed with bells and whistles to enhance engagement and the service requires certain features, like a recommendation engine, to keep fans watching.  To whip this up internally would be a multi-year and multimillion dollar undertaking, requiring constant upkeep and updating.  For most entertainment companies, it does not make sense to take the focus off of what they do best, produce content, in order to undertake this challenge.  In the current marketplace, there are many solutions to ascend the OTT technological summit.  For Disney, the answer was to buy a tech company that had mastered an OTT format for apps with a strong backend architecture.  For others it means an internal team piece-mealing different external systems and then uniting them in-house.  Many networks and studios are opting to partner with tech companies like Unreel.me, which has a fully fleshed out solution to launch OTT SVOD services quickly and backs them with a user experience that has taken years to perfect. In Unreel’s case, that also means access to patented technology focused on Big Data and UI/UX that networks and studios won’t find anywhere else.

  What has 2.58 billion dollars and a huge shake up in the industry bought Disney?

Disney is set to enjoy all of the advantages in which the other major streaming services have indulged in for years.  The primary gain is pure profit. The SVOD re-occurring monthly payment model is a lucrative one and the revenue will all go directly into Disney’s pocket. The other advantage is that Disney now owns the audience watching their content on OTT.  They will be able to recommend to them what Disney wants to be seen, show them ads and promotions for the products and experiences they want to push, and target them via email however they choose.  The other side to owning their audience is Big Data.  The immense amount of information Disney will collect about its fans is invaluable.  To have a profile of the demo and psychographics around each subscriber, and to understand how they engage with content, will guide content creation and marketing for Mickey and crew for years to come.

  Netflix always knew that the studios and networks they license from would eventually pull the plug and become competitors.  That is why they are slated to spend 8 billion dollars on original content this year.  Disney has now confirmed that wisdom; we have reached a point where it is foolish for content owners not to take on distributing their content themselves in order to cut their own slice of the rapidly growing OTT pie.

  Click here to find out how Unreel partners with content owners to quickly launch OTT services powered by Big Data and to learn more about our patents.                       

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VidCon Panel: Should Brands Make Videos?

This past week, the Unreel team was at Vidcon meeting with major creators, networks and brands, exploring how we can help them with OTT distribution.  During the event we attended several round-tables and keynotes, all focusing on a unique aspect of the rapidly expanding digital video industry.  One of these discussions stuck out as the most insightful and forward thinking.  Its title; Should Brands Make their Own Content?

  Obviously, that sort of question at Vidcon is rhetorical in nature. The panel featured the content executives for Fandango, Dollar Shave club, Portal A and Mattel, who all opened with an unequivocal yes; brands should make their own content.  Of course no one was in attendance for that anti-climactic conclusion.  The actual focus of the dialogue was to understand how brands should go about making and distributing videos. Videos that engage their target market, expand their brand, and even possibly break through as a new source of substantial revenue for their respective company.

  Deliberating the best means for brands to create content were Eileen Rivera of Fandango, Zack Bloom of Portal A, Josh Schoellmeyer of MEL, the content arm of Dollar Shave Club, and Isaac Quiroga of Mattel.  The group warned that for brands, taking on a legitimate content strategy was difficult, failed to present any kind of short term gain, offered unmeasurable and on occasion dubious long term returns, and is absolutely necessary to compete in today’s climate.  The challenge may be immense, but the payoff is unrivaled; a community of loyal for life fans.  To engage with your customers and nurture a relationship to that point results in an ROI marketers salivate over.  In order to accomplish creating that community requires two things; engaging content and appropriate distribution methods.

  The adage ‘Engaging content’ is carelessly thrown around at Vidcon, with most possessing little understanding of its actually meaning. Fortunately the panel was eager to share their refined definition of quality content for brands. Engagement for brands is a challenge to measure, because it goes beyond views, likes and even comments.  The engagement brands care about is winning hearts and minds, ultimately driving a sale. To reach that end goal, you have to do something that is a bit counterintuitive ­– produce content that serves your target market without selling them a thing.  Entertain them, inform them, design narratives and formats that serve your users, but never sells them.  Would the content be able to stand on its own if it was not produced by a brand? According to Josh Schoellmeyer of MEL, only after years of engaging your audience can you work in light marketing and sales information without spooking your fans away forever.  For MEL, the name of the game is volume, constantly experimenting on a daily basis with videos.  If you hit 60% of the time, you are doing an outstanding job.  

  The next component of the content equation for brands is distribution.  The group’s consensus was to focus on one platform that fit your brand well and would reach the greatest number of your target users.  Fitting the brand means a platform’s users match your target market, has limited restrictions, and posses a reputation aligned with your company’s goals and image.  When asked which brand is killing the content space, the first name to receive nomination from every speaker was Red Bull TV.  The reason?  Red Bull TV not only does a terrific job with creating content that serves its fan base, but they also have owned and operated OTT apps.  By owning the apps their content is distributed on, they need not worry about finding an external platform that is appropriate for their brand, they have created their own.  

  In creating their own platform, Red Bull TV has captured the Holy Grail for brand videos.  They have been full heartedly embarrassed by their target market as a lifestyle brand synonymous with extreme living.  They are reaching their fans on their own terms on their own apps, without a concern for the restrictions and reputation of other platforms.  Lastly, they are able to start monetizing, or promoting themselves within their platform however they would like, sans some outrageous rev share or restrictions.  Red Bull has created a community passionate about their brand for life.  A community that took years to nurture that will now be customers for decades.

  Click here to learn how Unreel is helping brands take control of their own distribution with OTT apps.

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[hinge]

Hinge presents an anthology of love stories almost never told. Read more on https://no-ordinary-love.co

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App Spotlight: WHO?MAG Multimedia

Unreel’s newest partner to launch apps across leading OTT platforms is the largest host of urban entertainment and music content in the world, WHO?MAG Multimedia.

  WHO?MAG brings you exclusive interviews, movies, TV shows, concerts, music videos, and much more. Starting as one of the first hip-hop/R&B orientated websites in 2002, a DVD magazine in 2005, to the largest independent hip hop/R&B TV show worldwide since 2007, WHO?MAG TV has now evolved into the TV network, WHO?MAG Multimedia.  WHO?MAG has always been ahead of the curve in urban entertainment, and now with Unreel, it is continuing that trend with OTT apps.

  WHO?MAG Multimedia features the biggest names in hip hop and R&B ranging from Pitbull, Wyclef, Big Sean, Rakim, KRS-One, Redman & Meth, DJ Premier, Mathew Knowles, George Clinton, Public Enemy, and hundreds more. Check out the gallery below to see some of the industry’s biggest names already using the app.

  Ready to get access to exclusive hip hop interviews, music videos, concerts, and much more?  Get WHO?MAG Multimedia, now live on Android, iOS, tvOS, and Roku!

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Bonnier and Unreel Partner to Launch Branded OTT Apps

Unreel is proud to announce our partnership with one of the world’s leading publishers, Bonnier Corporation. By working with Unreel, Bonnier Corp. has already rapidly released a streaming service supported by multi-platform apps for one of their most popular brands, On Two Wheels, a video series focused on motorcycling.

As innovative thought leaders in the publishing industry, Bonnier Corp. has come to consider OTT a key component of their business’s blueprint for long-term success. With the majority of consumers coming to prefer video over text and transitioning their viewing habits to OTT devices, the need to embrace video via an OTT app strategy has become a necessity for publishers. For them, OTT is a can’t miss opportunity and Unreel is the ideal partner to grow both their audience and revenue streams.

“Partnering with Unreel to deploy our own branded apps saved significant time and money, allowing our team to focus on content creation.” -Sean Holtzman, Bonnier

By powering many current and upcoming Bonnier Corp. own-and-operated video streaming apps, Unreel is enabling them to engage and monetize audiences on new digital platforms. As the publishing industry continues to converge with technology, it is clear that leveraging OTT is a vital part of 21st century publisher’s success; connecting and monetizing their audience in a new way (SVOD, VOD, AVOD). Utilizing Unreel’s big data focused OTT solution ensures that Bonnier Corp., and any publisher or network who partner with Unreel, will lead the new digital video landscape.

More about On Two Wheels:

On Two Wheel is the best motorcycle video series on the internet! Watch as Zack Courts and Ari Henning take on the most exciting motorcycle adventures they can find. Whether they’re skidding across the frozen lakes of Wisconsin, riding BMWs through Thailand, or racing Honda Grom’s, they’ll show you how to have fun On Two Wheels. A monthly motorcycle video series including motorcycle video reviews and motorcycle video test.

Click here to download On Two Wheels for tvOS, Roku, iOS and Android.

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How We Would Change The NAB Show

The NAB Show is the cannot miss event for those in the video industry, be their focus on film, television, digital and everything in between. It attracts anyone and everyone who is involved in the process of recording audio and video, editing it, storing it and then distributing it to audiences. As a distribution solution to that equation, we at Unreel have a unique perspective on how the NAB Show could be enhanced; providing a more productive experience for exhibitors and attendees. 

  Improving the Show comes down to the most cliché’ phrase in the OTT, film, and television industry — Content is king.

  For an event loaded with exhibitors focused on the process of creating and succeeding with content, one thing is glaringly missing from the expo hall; content. Every piece of the puzzle to win in video is missing except the actual video. There are film festivals and other content focused events happening year round for highlighting content, but they are fragmented and don’t draw as large a crowd focused on video as the NAB garners. Inviting owners of content to exhibit at the event would benefit all attendants, most of whose entire world circles around producing or distributing what else, content.

  As it currently stands content owners of all kinds, be they networks, filmmakers, or creators, do not exhibit at the NAB. Although they constitute a significant portion of attendees, from the smallest independent creator to the head of a major network, without a booth their only opportunity to participate in the event is by walking. The NAB is overwhelming and even the most ambitious attendee would struggle to make it to all corners of the event and meet with every company relevant to their needs. For owners of content, there is one specific need that they can ill-afford to miss out on exploring every solution for; that is additional distribution. By giving them the chance to exhibit rather than wander, it would simplify the process of connecting content with distribution platforms; be it a new app store, UDN, or means to distribute themselves.

  How the new and improved NAB Show would work:

  Just like hardware, software, and services get their own floors at the NAB, so would content owners. Major Networks, the OTT kings (Netflix, Hulu, etc.), and MCN types would be able to have a presence as exhibitors, and show off their content; an asset nearly every one else at the event so desperately wants to get their hands on in some way. Platforms with the need for content, like Unreel, be it for syndication, distribution via an app, or original content, would then be able to target and approach appropriate content owners— rather than waiting and hoping that those content owners just pop up at the platform’s own booth by chance.  At the end of the event content owners who chose to exhibit would have a thorough list of contacts for new opportunities to distribute. It is a win-win for all sides, allowing those with content, always looking for new ways to increase their reach, to connect with platforms desperate for content to deliver to their audiences.

  To learn more about how Unreel transforming the way owners of content distribute, click here!

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App Spotlight: KNEKT Television

In a society where the entertainment industry and its stars often focus on the material and extraneous, the video network KNEKT is digging deeper.  At the intersection of celebrity, charity, A-list events, and healthy living, KNEKT develops socially conscious content that matters. Driven by their motto, ‘Believe. Connect. Change the World,’ the LA based production company produces world class live and pre-recorded HD broadcasts from exclusive events, concerts, performances, charity galas, fundraisers and red carpet shows, as well as developing and producing film and TV shows with a core theme of conscious content and social good. A winner of the 2016 iMedia Agency Award “Campaign of the Year,” KNEKT is defining what it means to produce content that is as impactful as it is entertaining.

  Introducing KNEKT Television apps:

KNEKT Television, the exclusive streaming service of KNEKT content, has launched across iOS, tvOS, Roku, and Android with the help of Unreel tech! Here is what to expect from KNEKT Television apps:

  “KNEKT Television will take you behind the velvet ropes to experience world-class exclusive events, celebrities and social influencers. From concerts, performances, charity galas, fundraisers, red carpet interviews to health and wellness videos, sporting events, environment, animal rights and celebrity news, there is something that matters for you to watch on KNEKT Television. KNEKT Television will entertain, inspire and educate through content that matters with a focus on social good.”

  Of course KNEKT Television’s website and apps feature the cutting edge UI/UX only Unreel powered apps offer. That includes moment based commenting, an instant GIF/MEME maker to GIF your favorite scenes, and social engagement from around the web. Couple that tech with an incredibly rich and diverse content library keen on delivering a positive message and KNEKT Television is an app you have to have!

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[hinge]

Hinge presents an anthology of love stories almost never told. Read more on https://no-ordinary-love.co

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How to make more money from videos: Syndication

  For content creators, cashing in on their videos is becoming increasingly difficult. Major companies and their ad dollars, predicted to be worth almost a billion dollars, are fleeing away from YouTube after recent blunders. The platform’s response has been to tighten the rules around what content can be monetized, further hurting YouTubers. There is less money to be had, and it is harder than ever to get past the gatekeeper. Even if you create a monetizable viral hit, it is nearly impossible to keep others from copying the video, and republishing it on Facebook or elsewhere, allowing them to take a significant cut of the revenue you could have generated. In today’s content world, making a business out of your videos means pursuing multiply revenue opportunities. Only mega-creators, who’ve signed lucrative exclusive deals with a specific platform, can rely on distributing their videos to one place. A major part of distributing content to multiple platforms and maximizing revenue for creators now includes syndicating content.

  Syndicating your content is a simple process that allows your videos to work for you without additional effort. It is important to note the major advantage of syndicating videos is that it in no way affects your current content strategy. You continue along as you would, free to make and distribute content however you choose. Syndicating simply means that the videos you upload to YouTube and Facebook, will also synch with other properties (video streaming apps) who have been given permission to show your videos. When your videos are shown on these properties, ads are placed just as they would be on YouTube or Facebook. Of that ad revenue, you are given a majority cut.

  Syndication libraries like Unreel’s push out videos to apps with millions of users. When you synch your videos to our content library, they have the opportunity to be seen by millions of new viewers. This means you receive ad revenue without having to do a thing and gain exposure to a massive audience interested in the genre your videos occupy. Those new viewers are often easily converted into fans of your brand, then seeking your content on other platforms.

  How it works:

  Go to Unreel.me and launch your own video streaming site for free. This can be a destination you market and drive fans to, or a private place, simply used to synch and upload your content. If having your own video streaming service (Think your own Netflix) is something you are interested in, Unreel can also build you video streaming apps for every device to reach your fans wherever they watch.

  Upon creating your site, you will be invited to connect your YouTube and Facebook accounts. By doing so, every video you’ve ever published on those platforms will automatically be imported onto your new site and integrated into Unreel’s syndication library. Any videos you upload to YouTube or Facebook in the future will also automatically be synched.   You also have the option to upload videos directly to your Unreel.me powered site.

  Contact us through the admin and express your interest in syndicating. By creating a site and synching your content you will automatically be added to our syndication marketplace, however by personally letting us know about your desire to syndicate, we can make an effort to push your content out to our partners and our own properties.

  Keep doing what you do. Continue making the videos you enjoy to produce and posting them where you normally would. They will automatically be pulled into our system’s library and be eligible to syndicated to millions of users.

  Learn more and start earning with syndicated content at Unreel.me!

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YouTube is Loosing Creator’s $750 Million Dollars!

In a very short amount of time advertising darling YouTube has taken a fall from grace. The veil has been lifted and companies advertising with the Google owned site have suddenly recognized one of the platform’s most significant shortcoming. Next to wholesome brand campaigns aimed at winning the hearts and minds of consumers is often indecent video content chock-full of violence, misogyny, racism and vulgarities. Unlike traditional marketing channels, where companies can review the content their ads will be coupled with, YouTube is the Wild West. An advertisement for Girl Scout cookies could easily end up as pre-roll for the latest hit Neo-Nazi music video. Or in a very real world example, advertisements from the UK government were appearing next to radicalized terrorist videos. YouTube’s current safeguards attempt to prevent mismatches and block content inappropriate for ads, but they are not always effective. Very public, recent mishaps have left a bad taste in Advertiser’s mouths, leading many blue chip names such as McDonald’s, Toyota, L’Oreal to pull back or completely shut down their YouTube ad spend.

  In response YouTube is scrambling to beef up their advertising algorithms in an attempt to insure that videos violating their intense monetization criteria are properly flagged and demonetized.  Considering just how stringent the platform’s monetization rules are, it is impossible to make a truly foolproof system to prevent inappropriate content from delivering ads. Google’s most viable solution has been to approach a very intricate problem with a bazooka. They’ve begun to cast a wide net, flagging videos with any sort of questionable content and some without. An unfortunate consequence of this nuclear option is that millions of ad eligible videos are being wrongfully slapped with a demonetization sticker – an issue that is already being noticed and costing creators their livelihood.

  What this means for creators:

  The recent controversies surrounding YouTube ads have led to companies cutting their ad spend. The profit pie from which creators can take a slice has shrunk. The platform’s new algorithm is accidentally tagging an alarming number of videos as demonetized, making it harder than ever for YouTubers to even have a chance at crumbs. There is less to be made on ads and to make a bad situation worse; it is harder than ever to get a video approved to deliver ads. It has been predicted that the coinciding of these two phenomena will cost creators over $750 million dollars.[1] This is surely a hit for YouTube but that sort of revenue loss will be overcome­ – one of the many perks of being owned by the world’s largest company. It is a different story for the 100,000’s of creators impacted, who are suffering an incredibly consequential loss. That sort of cut to ad spend means creators are going to lose money, possibly up to 10% of their already paltry cut. The money they need to pay the bills and put towards creating more content is drying up. This certainly isn’t the end of YouTube, but it is a reminder that relying solely on the platform for monetizing content is risky business.

  Alternative revenue streams:

  It is not your fault abhorrent videos on YouTube are going to cost you dollars. Take your content’s destiny into your own hands. As a creator you have options to self distribute your videos, no longer relying on a platform such as YouTube that take a significant portion of your revenue. By launching your own video streaming service (think your own Netflix or HULU) you can take your fan base and revenue to the next level. You can still enable ads that will start delivering automatically, however now you get to keep the vast majority of payout, instead of ceding YouTube’s huge cut. You also have the option to sell your content as a subscription service or with video on demand, once again allowing you to keep nearly all the profits. In addition to increased monetization opportunities, having your own video streaming service allows you take control of your fan base by collecting their emails, opening up marketing opportunities and the chance to nurture your relationship with them.

With Unreel.me you can instantly launch your own video streaming service for free and then roll out custom branded apps for every smart device. Unreel’s ad partnerships ensures when you enable ads, you will deliver ads with higher payouts than on any other platform; payouts you keep the lion’s share of. Monetize with SVOD, VOD, and merchandise as well. Using Unreel there is no commitment and you can continue your activities on YouTube and other platforms as you currently do. If you are looking for an additional way to profit from your content brand and continue to grow it, Unreel is the platform for you!

  Click Here to Launch your video streaming service instantly!

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