Hong Kong-based over-the-top (OTT) services provider Viu has set its sights on taking the video streaming wars to players such as Netflix and Showmax in the South African market.
The company recently launched a brand campaign that signals its intention to challenge traditional streaming models, while highlighting what sets the platform apart from its competitors.
The campaign, which will roll out across multiple channels – including broadcast and digital media – is linked to Viu’s new content acquisition drive.
“Viu launched in South Africa in 2018. While we cannot share subscriber numbers, we have seen a significant growth rate of monthly active users over the past six years,” Elouise Kelly, country manager at Viu South Africa, tells ITWeb via e-mail.
“What sets Viu apart from other streamers is our hybrid model, which combines subscriber video-on-demand (SVOD), Viu Premium and advertising video-on-demand (AVOD) Viu Freemium. From an AVOD perspective, YouTube is the biggest player locally and globally, but it doesn’t specialise in premium broadcast content.
“On the SVOD side, Showmax, Netflix, Disney+, etc, are all competitors – but we do believe there is enough room for us all, and this contributes to a thriving OTT landscape.”
Kelly explains that despite the streamer’s “sizeable” base of active monthly users, Viu sees itself as a challenger brand that defies the status quo through its model that prioritises community-centric entertainment consumption.
“The traditional streaming model is typically subscription-based, where viewers pay a monthly fee to access a library dominated by content produced in Hollywood and other dominant markets.”
But as the streaming landscape has proliferated and more streamers have entered the playing field, this model has come under pressure and subscriber revenue bases are shrinking – leading to the recent spate of password crackdowns, she adds.
“We are committed to enriching our platform with an extensive array of local and international content through a strategic approach.
“First, we are actively acquiring more high-quality local productions, ensuring our viewers have access to a wide variety of South African narratives. Simultaneously, we are investing in the creation of original content by collaborating with the country’s talented filmmakers, writers and producers.”
According to Kelly, this approach not only guarantees a continuous flow of culturally-resonant content, but also plays a vital role in nurturing and expanding the local entertainment industry.
“Our aim is to establish our platform as a destination for authentic South African storytelling. Exciting developments are on the horizon, and viewers can expect to see a significant increase in local offerings in the very near future.”
She adds that Viu is home to a diverse array of content from Korea, Turkey, Scandinavia and Hollywood, and it plans to continue growing this.
Kelly explains that most South Africans – barring the upper-earning echelons – are under financial pressure and cannot afford steep fees. “In addition, they’re not always in a position to commit to binding contracts and fixed debit orders.
“We cater to this by offering flexible and affordable Viu Premium subscription options, where our users can subscribe daily, weekly or monthly.
“We also understand that South Africans are community-centric; we like to consume our entertainment as a group and share streaming services, and so Viu doesn’t have password-sharing restrictions.”
She notes that users can access five simultaneous streams and free downloads, with a “simple interface and user-friendly features”.
Kelly says that in the coming months, Viu will continue to add more premium content to its library, including top K-dramas and classic blockbusters, and viewers can look forward to ongoing upgrades to Viu’s user experience and fewer restrictions.
“We also believe that diversity adds richness and perspective to life. For this reason, we are strongly rooted in our local market and offer viewers access to South Africa’s best-loved shows, such as Uzalo and Skeem Saam, as well as an exciting library of Korean, Scandinavian, Turkish and other international content. We understand that great content doesn’t only come from more known markets, such as the United States or United Kingdom.”
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