Inside OSN Streaming’s digital transformation

Inside OSN Streaming’s digital transformation
1 / 3
A year after OSN rebranded its streaming platform WAVO to OSN Streaming, it has unveiled a brand new digital-first platform. (Screenshot)
Inside OSN Streaming’s digital transformation
2 / 3
Chief technology officer at OSN Peter Riz. (Supplied)
Inside OSN Streaming’s digital transformation
3 / 3
A year after OSN rebranded its streaming platform WAVO to OSN Streaming, it has unveiled a brand new digital-first platform. (Screenshot)
Short Url
Updated 25 July 2021

Inside OSN Streaming’s digital transformation

Inside OSN Streaming’s digital transformation
  • How OSN delivered a digital-first product in six months

DUBAI: A year after OSN rebranded its streaming platform WAVO to OSN Streaming, it has unveiled a brand new digital-first platform, putting technology and content at its core.
In October 2020, OSN Streaming changed its look and feel, but the technology remained the same. It was around the same time that the company decided to digitally overhaul the platform, delivering an entirely new user experience. 
“My early estimation was that we need to have 12-18 months,” Peter Riz, chief technology officer at OSN, told Arab News.
However, six months was a “very aggressive timeline” for a development such as this, he added. Riz and his team had to devise a hybrid approach using six different modules to achieve this vision. The next step was to find a way to bring together the modules in a seamless manner, because running them separately was not sustainable or cost-effective.
The two key areas of the rebrand were multiple user profiles — including dedicated children’s profiles — and content presentation focusing on enhanced search and discovery.
Content presentation and discovery were critical to the user experience, said Riz. The first layer was presenting content to each user based on the general interests of that audience segment determined by factors such as age and location. 
The second and more challenging layer was navigating personal user preferences. For example, Western expats generally watch movies and shows from the West, but also like watching certain Arabic dramas, explained Riz. The platform was also designed to learn from user behavior and tailor recommendations over time.
Riz said: “We wanted to show users the content we believe is relevant, so the question became: How do we do this quickly, and how do we give all this control to the editorial and marketing team?”


The answer came in the form of a custom technological component called the Customer Experience Builder (CXB). “The CXB is a new type of innovation from a technical point of view,” added Riz, because it enables the company to add new features and updates to various touchpoints — such as the mobile app, web browser, and TV apps — through one common system.
Digital disruption has been driven, in part, by a rapid change in user behavior, making it more important than ever before for companies to be able to adapt and improve their digital services quickly.
“OSN was not only able to deliver this new platform very quickly using the CXB, but we can continuously improve the experience,” said Riz. From building the CXB from scratch to writing new code, the new platform is a technological innovation for OSN.
“We changed the entire environment,” said Riz. “There is no legacy code in the new environment so every line of code that the engineers created to deliver the service is new.”
Since the launch of the new platform, OSN has been making tweaks through the CXB suite every two weeks. “Most of the logic, or ‘magic’ as we sometimes call it, happens on the backend,” he added.
Although these changes are almost imperceptible to users, they have a profound impact on how people discover and watch content on the platform, said Riz, resulting in OSN doubling content consumption on the platform.
Streaming companies reached their peak during the coronavirus disease pandemic, as more people spent time indoors and cinemas shut down. The surge in new users has forced these platforms to innovate in order to sustain their growth.
So, what is next for these companies?
“The real differentiator is still the content and how we present this content,” said Riz. “We are continuously working to find new content sources and secure current partnerships.”
Streaming platforms, including OSN, are also looking for new kinds of partnerships that will see them diversifying into gaming and audio. OSN, for instance, partnered with multi-player video game “PlayerUnknown’s Battlegrounds” (PUBG) to provide PUBG Mobile players an exclusive opportunity to access the OSN Streaming app.
On the technology side, OSN continues to measure multiple factors such as streaming quality, load time, lags, or delays, to constantly improve the user experience. When there is a new update on any operating system, the company immediately runs tests to see if it affects the performance of the OSN Streaming platform. It is also working on adding alternative payment methods, in addition to credit cards, to the platform.
But, behind it all, “you need to continue that invisible, seamless and perfect technology,” said Riz.
It is all about “continuous improvement and continuous innovation to bring the content to the audience, increase the partnerships and support the entire digital economy to grow and unlock all the potential in the region,” he concluded.


Netflix acquires the whole works of Roald Dahl

Netflix acquires the whole works of Roald Dahl
Updated 22 September 2021

Netflix acquires the whole works of Roald Dahl

Netflix acquires the whole works of Roald Dahl
  • The streaming giant said it had bought The Roald Dahl Story Company, the family firm that owns the late British author’s copyright
  • No financial details of the deal were given

SAN FRANCISCO: Netflix has acquired the whole works of acclaimed children’s author Roald Dahl, creator of such classics as “Charlie and the Chocolate Factory” and “Matilda,” the company  announced Wednesday.

In 2018, Netflix signed a deal to create animated series based on 16 Dahl books. But now the streaming giant said it had bought The Roald Dahl Story Company, the family firm that owns the late British author’s copyright.

“This acquisition builds on the partnership we started three years ago to create a slate of animated TV series,” Netflix co-chief executive Ted Sarandos and Luke Kelly, RDSC managing director and Dahl's grandson, said in a joint statement.

Under the previous deal, Oscar-winning filmmaker Taika Waititi and “Zootropolis” screenwriter Phil Johnston are working on a series based on the world of “Charlie and the Chocolate Factory” and an adaptation of “Matilda the Musical,” both of which are currently underway.

“These projects opened our eyes to a much more ambitious venture – the creation of a unique universe across animated and live action films and TV, publishing, games, immersive experiences, live theater, consumer products and more,” Netflix said.

Dahl died in 1990 aged 74. His books have been translated into 63 languages and sold more than 300 million copies worldwide.

“These stories and their messages of the power and possibility of young people have never felt more pertinent,” the statement said. “As we bring these timeless tales to more audiences in new formats, we're committed to maintaining their unique spirit and their universal themes of surprise and kindness, while also sprinkling some fresh magic into the mix.”

No financial details of the deal were given. However, in 2018, The Hollywood Reporter quoted sources as saying that the licensing deal covering the 16 Dahl books cost Netflix more than $100 million.


Facebook’s Project Amplify blatantly pushes pro-company stories: US newspaper

Despite Facebook owning up to some of its mistakes and promising to take corrective measures, the platform continued to come under fire for the same issues. (File/AFP)
Despite Facebook owning up to some of its mistakes and promising to take corrective measures, the platform continued to come under fire for the same issues. (File/AFP)
Updated 22 September 2021

Facebook’s Project Amplify blatantly pushes pro-company stories: US newspaper

Despite Facebook owning up to some of its mistakes and promising to take corrective measures, the platform continued to come under fire for the same issues. (File/AFP)
  • CEO Mark Zuckerberg signed off pushing pro-platform stories to users via Facebook News Feed, reported The New York Times

LONDON: A recently launched Facebook initiative codenamed Project Amplify was set up to push pro-platform stories on users’ news feeds, The New York Times reported.

And some of the promoted articles were written by the social networking giant to help paint the company in a positive light, the newspaper claimed.

The article said Project Amplify came into being at a meeting in January with the aim of reshaping Facebook’s image by adopting a multi-faceted approach including measures such as distancing the chief executive officer, Mark Zuckerberg, from controversies, and reducing external access to data.

Despite Facebook owning up to some of its mistakes and promising to take corrective measures, the platform continued to come under fire for the same issues. As a result, Facebook executives decided to go on the offensive with a new approach involving marketing, communications, policy, and integrity teams, sources revealed.

Although Zuckerberg did not drive all the decisions as part of the new initiative, he reportedly approved them.

Denying the newspaper’s claims, Facebook spokesperson Joe Osborne said: “People deserve to know the steps we’re taking to address the different issues facing our company — and we’re going to share those steps widely.”

Since the recent launch of the new project, Facebook has been testing the changes in three US cities through a tool called Quick Promote. The stories appear with a Facebook logo and link to websites published by the company as well as third-party websites.

Osborne told The New York Times that it was a “test for an informational unit clearly marked as coming from Facebook,” adding that the new initiative was “similar to corporate responsibility initiatives people see in other technology and consumer products.”

In a series of tweets, Osborne said The New York Times’ article had attempted to “villainize Facebook,” included “clear falsehoods,” and had left out part of his statement which included him saying, “there is zero change to News Feed ranking.”

He added that the January meeting had never taken place, although according to the newspaper report one attendee had claimed that several executives at the meeting were shocked by the proposal.

Osborne concluded his tweets by suggesting that The New York Times’ story should have written that, “Facebook ran a small test of an informational unit on Facebook in three cities – clearly labeled as from Facebook on the top of the unit,” along with an image of what the stories looked like.

Screengrab of Facebook spokesperson Joe Osborne's tweet of pro-Facebook stories in the News Feed. (Twitter:@JoeOsborne) 

 


Spotify celebrates Saudi National Day with patriotic playlist

Spotify celebrates Saudi National Day with patriotic playlist
Updated 22 September 2021

Spotify celebrates Saudi National Day with patriotic playlist

Spotify celebrates Saudi National Day with patriotic playlist
  • “Ana El Saudi” playlist brings east, west, central regions together with special selection

DUBAI: Music and podcast streaming platform Spotify is celebrating Saudi Arabia’s 91st National Day through music by releasing a special playlist.

Its “Ana El Saudi” playlist brings together some of the finest male and female voices to pay homage to Saudis through a rich selection of 94 patriotic songs. The tracks are considered a treasure among Saudi nationals, and Spotify expects them to be especially overplayed to mark the momentous day.

Among the songs that Saudis listen to the most on Spotify’s Saudi National Day playlist is Fahad Bin Fasla’s “Haza El Saudi Foq.” The Sheilat star’s hit song was an instant fan favorite among locals and has established itself at the top spot.

Rabeh Saqr’s “Anta Malek” comes in second place; the iconic Saudi artist has been serenading the Kingdom with his oriental style for more than 30 years, cementing his legacy in Saudi music.

Ayed, Borhan, and Naif Al-Naif’s “Ya Mohammed” is third, with the three khaleeji-style artists collaborating to tribute a song to Crown Prince Mohammed bin Salman. 

Mashael secures the top spot for female artists. Her recently released song “Sawb Alriyadh” has already garnered almost 2 million streams on Spotify. Waed, Shaikha Alaslawi, and Shamma Hamdan come in second, third, and fourth, respectively, among the female artists.

Riyadh has been the city leading the way in streaming “Ana El Saudi,” followed by Jeddah and Dammam.

Tune into “Ana El Saudi” here.


Facebook spent over $13 bln on safety, security since 2016

Facebook spent over $13 bln on safety, security since 2016
Updated 21 September 2021

Facebook spent over $13 bln on safety, security since 2016

Facebook spent over $13 bln on safety, security since 2016
  • The social media giant said it now has 40,000 people working on safety and security
  • Facebook played down the negative effects on young users of its Instagram app

DUBAI: Facebook Inc. said on Tuesday it has invested more than $13 billion in safety and security measures since 2016.
This comes days after a newspaper reported the company had failed to fix “the platform’s ill effects” researchers had identified.
The social media giant said it now has 40,000 people working on safety and security, compared with 10,000 five years ago.
Facebook played down the negative effects on young users of its Instagram app and had a weak response to alarms raised by employees over how the platform is used in developing countries by human traffickers, the Wall Street Journal reported last week, citing a review of internal company documents.
“In the past, we didn’t address safety and security challenges early enough in the product development process,” the company said in a blog post
“But we have fundamentally changed that approach.”
Facebook said its artificial intelligence technology has helped it block 3 billion fake accounts in the first half of this year. The company also removed more than 20 million pieces of false COVID-19 and vaccine content.
The company said it now removes 15 times more content that violates its standards on hate speech across Facebook and its image-sharing platform Instagram than when it first began reporting it in 2017.


Netflix offers free plan in Kenya to entice new subscribers

The free plan started on Monday and will roll out across Kenya in the coming days. (File/AFP)
The free plan started on Monday and will roll out across Kenya in the coming days. (File/AFP)
Updated 21 September 2021

Netflix offers free plan in Kenya to entice new subscribers

The free plan started on Monday and will roll out across Kenya in the coming days. (File/AFP)
  • Netflix offers free mobile plan with one-quarter of its TV shows and movies in Kenya to increase frowth
  • The free plan is available on Android mobile phones and will not have ads

LOS ANGELES: Netflix Inc. on Monday began offering a free mobile plan with about one-quarter of its TV shows and movies in Kenya, a strategy aimed at sparking growth in a key African market, the company told Reuters.
The free plan is available on Android mobile phones and will not have ads. It features Netflix movies and TV shows such as dramas “Money Heist” and “Bridgerton” and African series “Blood & Water,” plus some of the programming the company licenses from others. Netflix hopes the free plan will lead to users signing up for a paid option with more content.
The world’s largest streaming video service is looking to add customers outside of more saturated markets such as the United States, where new subscriber signups have slowed at a time when competition for online audiences has intensified.
Executives remain bullish on the long-term future, noting there are large markets where streaming television is just starting to take hold. To attract customers in Africa, Netflix is investing in locally made programming such as “Queen Sono” and “Jiva!” and has partnered with production studios in Nigeria.
“If you’ve never watched Netflix before — and many people in Kenya haven’t — this is a great way to experience our service,” Cathy Conk, director of product innovation at Netflix, said in a blog post. “And if you like what you see, it’s easy to upgrade to one of our paid plans so you can enjoy our full catalog on your TV or laptop as well.”
The free plan started on Monday and will roll out across Kenya in the coming days.
The non-paying Netflix subscribers in Kenya will not be counted in the paid total the company reports each quarter, a spokesperson said.
Netflix has experimented with free offers before. In 2020, it made some episodes of series such as “Stranger Things” and movies including “To All the Boys I’ve Loved Before” available around the world for no charge via web browsers.
The free plan in Kenya is broader. It will look similar to paid Netflix profiles to give viewers a feel for the service, the spokesperson said. Shows that are not included in the free plan will be marked with a lock icon. Clicking on one of those titles will encourage the user sign up for a paid option.
Anyone 18 or older in Kenya can enroll in the free plan and create up to five profiles. No payment information will be required.
Some functions, such as the ability to download a show or movie, will not be available under the free plan.
Netflix, which streams in more than 190 countries, has taken other steps to boost usage in Africa, including creation of a paid mobile-only plan and partnerships with local telecom operators to ease payments.
The company reported 209 million paying customers worldwide at the end of June. New member pickups slowed in the first half of 2021 after a boom early in the COVID-19 pandemic.
Africa currently is a relatively small market for streaming TV subscriptions. Digital TV Research projects Netflix will lead subscription video on demand services on the continent with 6.26 million paying customers in 2026, followed by Walt Disney Co’s Disney+.