i3 - January/February 2020 - 91
By Gary Arlen
Business
Les Emmerdeurs
Sobreviví
C S PAC E
Global Streaming
goes Multilingual
U
Left to Right: Courtesy of YouTube (2), Courtesy of Netflix.
nless you're in a dedicated pursuit of original
streaming video content, you may have missed
Les Emmerdeurs on YouTube Premium. The new
show is part of the made-for-streaming content roster being
produced in various languages for global viewers, including
audiences in Asia, Latin America and Europe.
In other words, digital video is not just
in English. Although North America is
the fourth largest market for video
streaming and downloading, according
to an eMarketer analysis, digital video
distributors are accelerating original
content worldwide. eMarketer estimates
that in 2020 there will be 1.5 billion digital viewers in the Asia-Pacific region;
493 million in Europe; and 298 million
in Latin America. North America has
about 260 million viewers, followed by
the Middle East/Africa with 183 million.
eMarketer foresees 13% global growth
in digital viewership during the next
three years, with 17% growth in AsiaPacific - about triple the expected
growth rate in North America.
The focus on digital video globalization
comes as streaming video outpaces traditional movie-going. An Ampere Analysis
report concludes streaming revenue surpassed theatrical revenues for the first
time in 2019: $30.6 billion for digital
video versus $22.6 billion at box offices.
As global streaming goes multilingual,
everyone is looking for content. In addition to U.S. streaming brands, international providers, notably China's Tencent
Video and Baidu iQiyi, France's myCanal
and India's Hotstar and JioTV, are
C TA . t e c h / i 3
backing original content to feed their
own pipelines.
Aggressive but Cautious
Production deals are everywhere, often
in very creative forms. Netflix struck a
deal with Italy's Mediaset to co-produce
and co-finance seven movies to be made
by Italian independent filmmakers. The
movies, available worldwide on Netflix
next year, will be shown on Mediaset
broadcast TV channels a year later.
"Great stories can come from anywhere
and be loved everywhere," Netflix CEO
Reed Hastings says.
Sacred Games, a thriller produced
in Hindi, is the first Netflix original
series from India. The series has been
subtitled into 20 languages, available in
190 countries. Netflix has launched a
European anthology series Criminal,
which involves co-productions from the
United Kingdom, France, Spain and
Germany. Other streaming video providers are equally aggressive. YouTube
Premium launched Sobreviví, its first
Spanish language original series in 2019,
featuring Sofía Niño de Rivera, a
Mexican comedienne.
Margie Moreno, head of YouTube
Originals for Latin America, says Spanish
Sacred Games
programming is "one of our priorities in
international expansion," noting Mexico
is one of YouTube's top three markets.
The deal to create "Sobreviví" came after
YouTube acquired rights to stream Gael
García Bernal's Mexican heist thriller
"Museo." YouTube says the Spanishlanguage deals meet its global strategy
for original, culturally relevant content.
YouTube has also launched Próxima
Parada (Next Stop), a Portuguese travel
series. In France, YouTube Premium
backed the comedy Groom, and Les
Emmerdeurs ("Troublemakers"), a
World War II drama. YouTube's chief of
global original programming Susanne
Daniels says that plans call for creating
original premium content in Japan,
Mexico and India.
And in China, Tencent produced the
drama Candle in the Tomb, and the
historical romance Rule the World,
among a slate of original shows. Baidu
is supporting original programming for
its iQiyi video-steaming platform,
which attracts 421 million monthly
viewers. And Alibaba's Youku videostreaming service features series such
as Day and Night, produced with
Netflix - the first Chinese language
series with global distribution.
Original programming in polyglot
languages has exposed many viewers to
local/regional streaming media. Now,
the experts are waiting to see if global
audiences will embrace the new content
options that streaming offers.
JANUARY/FEBRUARY 2020
91
https://cta.tech/i3
i3 - January/February 2020
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