Licensing and / or Buying
Streaming Content Content
~~~~~~~~~~~~~
Written by
William Sondheim, Greenfield Media
Stephen J. Kerr, Bel Age Medias &
Sarah Nean Bruce, Bel Age Medias
************************************************************
Written by
William Sondheim, Greenfield Media
Stephen J. Kerr, Bel Age Medias &
Sarah Nean Bruce, Bel Age Medias
************************************************************
-FEATURED GRAPHIC-HOW TO BUILD A BETTER STREAMING MEDIA COMPANY (Part 2).jpeg
January 12, 2021
– 15 MINUTE READ –
– 15 MINUTE READ –
PREAMBLE:
Licensing or buying content (movies, TV shows, documentaries, talk shows, etc.) is fundamentally the same thing. The terms of payment and the contracts are different (paying over time, versus paying up-front) – but they are both remarkably similar ways to aggregate content for an OTT Streaming channel.
Like Home Entertainment (DVD) distributors and Broadcast (cable & free TV) before them, many Streamers start out licensing content from many sources, but then find it essential to create their own original shows. They may contract with known third party producers or have their in-house creative/producers/crews make the programming.
William “Bill” Sondheim, a long-time media executive, who has built, run, and purchased streaming media companies brings his own unique insider insights on how to build a better streaming business.
Stephen J. Kerr, a 25-year veteran corporate and intellectual property appraiser, as well as an M&A intermediary, who has bought, sold, and valued streaming and home media companies, contributes his investment banking perspective to this topic.
This second article focuses mainly on purchasing and licensing content from independent third parties.
Like Home Entertainment (DVD) distributors and Broadcast (cable & free TV) before them, many Streamers start out licensing content from many sources, but then find it essential to create their own original shows. They may contract with known third party producers or have their in-house creative/producers/crews make the programming.
William “Bill” Sondheim, a long-time media executive, who has built, run, and purchased streaming media companies brings his own unique insider insights on how to build a better streaming business.
Stephen J. Kerr, a 25-year veteran corporate and intellectual property appraiser, as well as an M&A intermediary, who has bought, sold, and valued streaming and home media companies, contributes his investment banking perspective to this topic.
This second article focuses mainly on purchasing and licensing content from independent third parties.
As we mentioned in our first article on this subject, excellent content with poor distribution is as ineffective as terrific distribution with poor content. Neither will lead to success. Only top shelf content coupled with broad distribution succeeds. The more tailored to the specific audience, the better.
We’ve valued and sold many copyrighted and classic film and television libraries over the years, but those transactions seem to be hard to find these days. Most of the best independent film libraries have been sold/licensed a long time ago, and the major studios that control the largest IP archives have all but closed their doors to licensing – instead, they prefer to populate their own OTT streaming channels with their own branded content.
We’ve valued and sold many copyrighted and classic film and television libraries over the years, but those transactions seem to be hard to find these days. Most of the best independent film libraries have been sold/licensed a long time ago, and the major studios that control the largest IP archives have all but closed their doors to licensing – instead, they prefer to populate their own OTT streaming channels with their own branded content.
“I think a lot of the best film libraries have been acquired. You are going to see very few independents left because there has been so much acquisition and consolidation. It’s not like five years ago when there were 15 to 20 libraries out there that were substantial.” )
~ Philip Elliott Hopkins, The Film Detective (a Division of CINEDIGM)
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