{"id":599,"date":"2021-03-11T00:00:00","date_gmt":"2021-03-11T00:00:00","guid":{"rendered":"https:\/\/leadersinsport.com\/sport-business\/reports\/broadcast-disruptors-bulletin-the-online-highlights-trading-marketplace-heats-up-trillers-striking-entrance-to-the-ring-and-one-championships-approach-to-localising-production\/"},"modified":"2021-08-10T09:59:24","modified_gmt":"2021-08-10T09:59:24","slug":"broadcast-disruptors-bulletin-the-online-highlights-trading-marketplace-heats-up-trillers-striking-entrance-to-the-ring-and-one-championships-approach-to-localising-production","status":"publish","type":"article","link":"https:\/\/leadersinsport.com\/sport-business\/articles\/broadcast-disruptors-bulletin-the-online-highlights-trading-marketplace-heats-up-trillers-striking-entrance-to-the-ring-and-one-championships-approach-to-localising-production\/","title":{"rendered":"Broadcast Disruptors Bulletin: The online highlights trading marketplace heats up; Triller\u2019s striking entrance to the ring; and ONE Championship\u2019s approach to localising production"},"content":{"rendered":"\n\n
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\n Mar 11, 2021 <\/p>\n \t\t\t\t\t\t\n\t\t\t\t\t\t\t<\/span>Articles<\/a>\n\n\t\t\t\t\t\t

Broadcast Disruptors Bulletin: The online highlights trading marketplace heats up; Triller\u2019s striking entrance to the ring; and ONE Championship\u2019s approach to localising production<\/h1>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\n \n\t\t\t<\/div>\n\t\t<\/div>\n\n\t<\/div>\n<\/div>\n
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Category<\/div>\n Digital & Media<\/a> <\/div>\n
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Share<\/div>\n Facebook<\/a>\n Twitter<\/a>\n Email<\/a>\n Copy Link<\/a>\n
https:\/\/leadersinsport.com\/sport-business\/articles\/broadcast-disruptors-bulletin-the-online-highlights-trading-marketplace-heats-up-trillers-striking-entrance-to-the-ring-and-one-championships-approach-to-localising-production\/<\/div>\n <\/div>\n <\/div>\n <\/section>\n\n\n
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11 things you need to know today about the shifting sports media landscape <\/span><\/b><\/p>\n

By James Emmett<\/a> and David Cushnan<\/a><\/h6>\n
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In partnership with:<\/p>\n

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If you haven’t already, sign up for free<\/a> to receive the bulletin straight to your inbox every second Thursday.<\/p>\n

 <\/p>\n

Short form<\/strong><\/p>\n

Brands as live broadcasters
\nTriller enters the ring
\nThe NFT era begins
\nInstagram rolls out enhanced live feature
\nDisney+\u2019s rapid growth
\nONE Championship\u2019s diversification and localisation plans
\nConcacaf signs up with Paramount+
\nKevin Mayer assumes DAZN Chair
\nLeible joins LiveNow
\nEast joins independent production house
\nFry to assist IMG Production transition<\/p>\n

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Long form<\/strong><\/p>\n

THE BIG PICTURE<\/strong><\/h4>\n

Welcome to the Broadcast Disruptors Bulletin, where we pick and choose the most interesting and important snippets from across the sports broadcast and content creation world. Thanks for clicking.<\/p>\n

Help us help you by sending through all your best news, gossip, information and opinion to david.cushnan@leadersinsport.com<\/a> and james.emmett@leadersinsport.com<\/a>. Always great to hear from you.<\/p>\n

The NBA has agreed a media rights partnership in Brazil with league partner Budweiser. The beer brand has begun to stream one live game per week via its social channels, as well as producing original content in Portuguese across a number of platforms.<\/p>\n

According to the NBA\u2019s Latin America division, the deal could be a precursor to similar arrangements with partners in Chile, Argentina and Mexico, as the league looks to spread the word and grow its profile.<\/p>\n

The novel NBA agreement in Brazil has received a good deal of attention, but the idea is not entirely new. Four years ago, in Germany, local bank DKB stepped in to broadcast the IHF World Men\u2019s Handball Championship live on an exclusive basis via its website.<\/p>\n

It\u2019s not just brands, either. In 2017, British diver Tom Daley secured the exclusive live rights in the UK to the FINA World Series, in which he was competing, for his own YouTube channel. Formula One world champion Jenson Button did something similar when he competed in Japan\u2019s Super GT Championship in 2018.<\/p>\n

Given the advances in streaming technology and social media, not to mention the desire for sponsors to reach fans through increasingly well-produced and packaged content, the brand (or athletes)-as-broadcaster concept seems a natural way to continue to evolve more traditional marketing relationships and go to pre-existing groups of customers or fans.<\/p>\n

Coca-Cola or LeBron James acquiring the rights to broadcast the Premier League in the United States may seem the stuff of fantasy for now, but in the content-driven, everyone\u2019s-a-broadcaster age the type of deal the NBA has struck in Brazil hints at a future where one day it might just be a possibility.<\/p>\n

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<\/h4>\n

EYES ON THIS – <\/strong>Watch how these three things develop to understand the future<\/em><\/h4>\n

Triller, Triller fights<\/strong>
\nThe video-sharing app has brazenly \u2013 and without much fanfare – stepped into the boxing ring, outbidding established promotional giants Matchroom Sport and Top Rank for the upcoming IBF lightweight world title fight between Teofomo Lopez and George Kambosos Jr. Triller bid just over $6 million for the fight, far ahead of Matchroom\u2019s US$3.5 million and Top Rank\u2019s offer of US$2.3 million. It is now preparing a pay-per-view show with Lopez-Kambosos as the headline fight. Triller broadcast Mike Tyson\u2019s recent exhibition bout with Roy Jones Jr., has a deal with YouTuber-turned-boxer Jake Paul and in December teamed up with Snoop Dogg to launch a new boxing league, but its investment in a top-level professional fight may mark the beginning of a new phase in its sports strategy. Its purse bid for the Lopez fight certainly came as a surprise to the main US boxing broadcasters ESPN and DAZN. Beyond boxing, Triller is perhaps best known for providing an online home for the likes of Justin Bieber, but pinning down its current number of users is proving tricky. In the past fortnight, Billboard has reported the service has inflated its user numbers, citing a source who claimed that the real figure was around half the 50 million Triller publicised in July.<\/p>\n

Tokenism<\/strong>
\nNews that a digital clip of a 2019 LeBron James dunk available to view on YouTube sold for US$208,000 was greeted with a combination of incredulity and in some cases hilarity, but the concept of owning a digital moment is very much here and here to stay – and the buyers are certain to make a significant profit as and when they choose to sell. Through a non-fungible token \u2013 effectively a secure and non-transferable digital certificate of authenticity \u2013 fans now have the ability, for sentimental or trading reasons, to purchase, own and trade digital highlights in the same way as they have been doing with physical cards and memorabilia for decades. The James clip sold via NBA Top Shot, the NBA\u2019s blockchain-powered video highlights buying and selling platform which was launched in 2019 through a partnership with Dapper Labs. It is believed to have already generated over US$200 million in sales, with a rapid increase coming in recent weeks. As so often, where the NBA leads the rest of sport is following: football-focused digital collectible platform Sorare, for one, has struck deals with several European clubs, plus the likes of the J-League, K-League and MLS, and recently raised US$50 million through a funding round. A glimpse at the potential riches the NFT system offers can be found in the art world. In October, a Miami-based collector spent US$67,000 to own a 10-second video freely available to view online. Last week, he sold that same video for US$6.6 million.<\/p>\n

Live groups<\/strong>
\nAfter a period of testing in India, Instagram is rolling out Live Rooms, an enhanced version of its live feature where users can broadcast with three others at the same time. Previously it has only been possible to go live with one other user. Announcing the new feature last week, Instagram suggested it would open up the opportunity to \u2018start a talk show, host a jam session or co-create with other artists, host more engaging Q&As or tutorials with your following, or just hang out with more of your friends\u2019. The feature also includes monetisation opportunities for users, including the ability for viewers to buy \u2018badges\u2019 for the host and integration of Instagram\u2019s shopping and live fundraising elements. Following the trial in India \u2013 a market chosen because of the country\u2019s ban on rival TikTok \u2013 Instagram saw views of lives grow by 60 per cent in 2020.<\/p>\n

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THE NUMBERS<\/strong><\/h4>\n

Disney expects to have between 230 million to 260 million subscribers to its Disney+ streaming service by 2024, after recent confirmation that it has already secured 94.9 million subscribers prompted it to make a reforecast. Axios has mapped out the service\u2019s rapid ascent alongside those of the other key players in the US streaming wars.<\/p>\n

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Source: Axios<\/p>\n

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PRODUCTION NOTES<\/strong><\/h4>\n

\"\"<\/p>\n

In the Mixed Zone with\u2026 Hua Fung Teh, Group President, ONE Championship<\/strong><\/p>\n

How would you describe the evolution of ONE Championship\u2019s media strategy?<\/strong>
\nONE Championship is Asia\u2019s largest global sports media property. We grew up doing mixed martial arts events and over time we diversified into other martial arts and today we\u2019re the world\u2019s largest martial arts organisation, with events across MMA, kickboxing and even local forms like Muy Thai. We have a huge broadcast footprint \u2013 broadcasting in over 150 countries to a potential audience of 2.6 billion people. That makes us not only Asia\u2019s largest global sports media property, but also Asia\u2019s only global sports media property. Asia has many very well-run sports leagues, like the Chinese Basketball Association, the Chinese Super League, the Philippine Basketball Association and the J-League but very few of them have a true global following. That\u2019s one thing that\u2019s pretty unique about us and another is digital.<\/p>\n

We had the good fortune of being born in the digital, social and global age in 2011 when platforms like Facebook, YouTube and Tencent were already up and on the rise. Because we were not locked into legacy TV deals, and in particular exclusive TV deals, we were able to be fairly liberal about where we distributed and posted our content. With the advent of digital, social and mobile media platforms, we grew with that. We now have over 20 million fans on Facebook, on an annualised basis we\u2019re doing 15 billion social media impressions. I say all this not to give myself a pat on the back: a lot of it was luck; picking a sport that was relevant across a region of 4.4 billion.<\/p>\n

How is it evolving beyond live fights?<\/strong>
\nWhile we started with martial arts, in the last two years we\u2019ve diversified a lot in terms of content sets. We have ONE Esports, which is a subsidiary, a joint venture with Dentsu \u2013 and it\u2019s a full-on sports league in and of itself; Asia\u2019s largest esports competition. We are platform agnostic, we work with different developers, a whole bunch of titles. We have been able to leverage the martial arts platform into esports, and now we\u2019re doing general entertainment as well, with \u2018The Apprentice: ONE Championship\u2019. We were fortunate enough to build a brand, an audience and a fanbase very quickly and that has enabled us to now extend into the product lines, which will continue as we grow.<\/p>\n

What are the main obstacles to growing your global footprint?<\/strong>
\nAny sports property trying to globalise will always have issues that you have to try and solve, like localisation. Our product, even though we grew up in Asia, is a relatively Westernised product \u2013 it\u2019s shot and produced in English, the creative medium is English. That works in markets like, say, the Philippines that is English-speaking and has quite a strong tradition of watching Western sports like the NBA. But in some markets, like Indonesia, where the vast majority of people communicate in Bahasa, their local language, we have to make some adjustments to the content. Sometime those are basic, like subtitles \u2013 or in the case of China, we have a Mandarin feed and commentary accompanying the show.<\/p>\n

In many cases we have to invest in deeper localisation: in the highlight clips or reels, in between fights, our Chinese feed has different clips, more Chinese, locally-relevant, athletes. In some places we have a completely local studio show and that requires some investment, by us and our broadcast partners. Localisation is not unique to us but it\u2019s something we have to solve and we probably dealt with it earlier in our life, because unlike the established global sports media properties we were kind of regional on day one, global on day two. We said we were going to be relevant across a number of Asian countries at the start and now today we have broadcast in the US and Europe. That was an opportunity, to create something highly relevant in multiple local markets on day one.<\/p>\n

Hua Fung Teh was speaking during the Leaders\/SBJ Media Innovators event in November.<\/em><\/p>\n

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<\/h4>\n

RIGHTS WATCH<\/strong><\/h4>\n

Concacaf signs with Paramount+<\/strong>
\nConcacaf, the governing body for football in North America, Central America and the Caribbean, has confirmed a major new US rights deal with CBS Sports. Across a multi-year period, over 200 men\u2019s and women\u2019s national team matches will be broadcast via the new ViacomCBS streaming service, Paramount+. The agreement starts in June with the Concacaf Nations League Finals. Paramount+ launched on 4th March and is effectively the replacement for CBS All Access. Much of CBS\u2019s sports portfolio, including the NFL and NCAA March Madness tournament, will be available via the service. Live football on the platform will include the National Women\u2019s Soccer League, as well as Uefa\u2019s club competitions, as well as top-tier action from Brazil and Argentina.<\/p>\n

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JOBS BOARD<\/strong><\/h4>\n

Skipper steps down, Mayer steps in at DAZN<\/strong>
\nFormer Disney and TikTok executive Kevin Mayer is DAZN\u2019s new Chairman, after John Skipper\u2019s decision to step down from his role with the sports streaming service. Skipper will concentrate on his new venture, Meadowlark Media, but remain as a strategic advisor to DAZN. After his short stint running TikTok, Mayer resurfaced last year as an advisor to DAZN parent Access Industries. In January, DAZN announced the appointment of Shay Segev to run the business as Co-CEO alongside James Rushton.<\/p>\n

Peter Leible joins LiveNow<\/strong>
\nFormer Bundesliga Head of Audiovisual Rights Peter Leible has been named Head of Sports at LiveNow, the Aser Media-owned live streaming platform. He is reunited with Aser Media\u2019s Andrea Radrizzani having previously worked with the Italian at MP & Silva, where Leible headed up the agency\u2019s APAC division.<\/p>\n

East swaps Sky for Buzz16<\/strong>
\nDuncan East has joined independent sports production company Buzz16 as Managing Director, following his departure from Sky Sports. East spent nearly two decades at Sky, most recently as Director of Creative Output. Buzz16 is the company behind shows such as \u2018Gary Neville\u2019s Soccerbox\u2019 and \u2018Class of 92 \u2013 Full Time\u2019.<\/p>\n

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CONTENT\/PRODUCTION<\/strong><\/h4>\n

Fry to help IMG Production leadership transition<\/strong>
\nGraham Fry, IMG\u2019s long-time production chief, is to retire at the end of 2022, with the agency confirming a business transition plan. Fry, IMG\u2019s Managing Director of Production Worldwide, since 2007 will revert to the Executive Chairman, Production role as new leadership is installed over that period. He currently oversees a team of over 500, in London, Sydney, Stockholm, Oslo, Singapore and Glasgow working with clients including the Premier League, Wimbledon, World Rugby, European Tour, UFC, Euroleague and broadcasters such as the BBC, Amazon Prime, Eurosport, CBS and NBC Sports. Fry has been with IMG since 1991. \u201cGraham is one of our most experienced and well-respected executives,\u201d said Adam Kelly, IMG\u2019s Co-President of Media and Events, \u201cand we are fortunate to have him spearheading such an important part of the media business. We are delighted that he has committed to complete his career with IMG and help the smooth transition to new leadership before the end of next year.\u201d<\/p>\n

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 <\/p>\n

Thanks for reading this edition of the Broadcast Disruptors Bulletin. We\u2019ll have another for you a fortnight today; and if you haven\u2019t subscribed yet, do remember to opt-in here.<\/a><\/p>\n<\/p>\n <\/div>\n \n \n \n <\/div>\n

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