• International Journal of Internet, Broadcasting and Communication
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• v.13 no.4
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• pp.55-65
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• 2021

The purpose of this paper is to present the Over-The-Top (OTT) platforms' strategies for two-sided markets. For this, we examine six strategic factors influencing OTT's success in Korea. The analysis reveals, among six OTTs, Netflix utilizes five strategic factors except the same-side network effects. OTTs from pay TV operators and channel providers tend to block the cross-side network effects on the opponent OTTs, because they think their giveaway to content providers is in vein, if the invested content by them would be consumed on opponent rival platforms. Interesting is that after experiencing a negative association between the market entry of Netflix and the subscription revenue growth rate of pay TV services, pay TV operators utilize the same-side network effects by offering hybrid services in partnership with global OTTs like Netflix, Disney+ which are considered as a complementary OTT. In conclusion, it is suggested to target a new connected TV based OTT service offering with collaboration with Korean TV device manufacturers for Korean OTTs' global strategy, because Netflix-like global market expansion is not easy for them to cover their content cost.

• Journal of Korea Society of Digital Industry and Information Management
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• v.11 no.4
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• pp.129-141
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• 2015

This study evaluates user experience of streaming stick service through usability testing. Streaming stick services such as Roku, Chromecast, and Everoncast were tested in ten levels belonging to five usability variables that are composed of efficiency of use, accuracy, meaningfulness, flexibility, and consistency. Each variable has two levels respectively that are responsiveness, minimal action, error prevention, error detection, error recovery, understandability, learnability, substitutivity, predictability, and familiarity in order. Twenty five participants volunteerly joined this research, and the results showed that Roku is superior to another two OTTs in most levels and variables. It implies that participants prefer to remote control, many channels, and personalized service during experiencing the service.

• International journal of advanced smart convergence
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• v.10 no.1
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• pp.62-74
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• 2021

We compare Over-the-Tops (OTTs), Netflix and Amazon Prime Video (APV) with five success factors of innovation. Firstly, Netflix offers better personalized service than APV, because APV has collaborative filtering algorithms to recommend safe bets, not the customers really want. Secondly, APV' user interface is undercooked to lock the members in, even if it has more content and better price offer than Netflix retaining its loyal customers despite the price increase. Thirdly, Netflix has simple subscription model with three tiering, but APV has complicated pricing model having annual and monthly, APV and Prime Video (AV) app, Amazon subscription and extra payment of Amazon Prime Channels (APCs). Fourthly, Amazon has fewer partnership than Netflix especially when it comes to local TV series. Instead, Amazon has live TV channel collaboration including sports content. Lastly, both have strategic and operational agility in their organization well.

• International journal of advanced smart convergence
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• v.10 no.4
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• pp.72-83
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• 2021

The use of the predictive analytics (PA) powered by the artificial intelligence (AI) is more important in the movie sector during the COVID-19 pandemic, because Hollywood witnessed the impact of the 'Netflix Effect' and began to invest in data and AI. Our purpose is to discover a few cases of the AI centered PA in the movie industry value chain based on five objectives of PA: Compete, grow, enforce, improve, and satisfy. Even if movie companies' interest is to predict future success for competing with over-the-tops (OTTs) at a first glance, it is observed, once they start to use the PA with the AI, they try to utilize the enhanced PA platforms for remaining four objectives. As a result, ScriptBook, Vault, Pilot, Cinelytic and Merlin Video (Merlin) are use cases for the objective 'compete.' Movio of Vista Group International and Datorama of Salesforce are use cases for the objective 'grow.' Industrial Light & Magic (ILM) and Geena Davis Institute on Gender in Media (GDI) with Disney are use cases for the objective 'enforce.' Watson, Benjamin, and Greenlight Essential are use cases for the objective 'improve.' Disney Research (DR) with Simon Fraser University and California Institute of Technology is the use case for the objective 'satisfy.'

• The Journal of the Korea Contents Association
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• v.14 no.8
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• pp.342-364
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• 2014

The purpose of this paper is to provide an answer for the following question: What are the major shifts and implications of the unprecedently competitive and rapidly changing media ecosystem in the era of N-screen and OTT services? I've attempted to understand the complex and competitive nexus among media from an historical context by focusing on the displacement vs. complement thesis. The TPC model by Han has been employed for the analysis of the current dynamics of US media industries by triangulating three areas: Technology/industry, public policy and consumer/culture. More specifically, the US media landscape is initially divided into two competitive turfs - the competitors equipped with OTT services and the legacy media industry, and then the traditional media industry was grouped again into PayTV group(telecom service providers with IPTV and mobile TV, cable/Satellite TV networks) and Free (over-the-air) TV networks. Six major shifts were identified by the analysis: power shift in telecom carriers, power shifts in TV industry, Telecom/OTT partnership, time shifts, place shifts, and finally business model shifts.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.18 no.5
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• pp.39-54
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• 2018

This study aims to expand K-Wave business. For this, it firstly investigated previous studies and pointed out limitations of the current scope of the K-Wave business. Therefore, as a theoretical background, it attempts to construct an analysis framework based on four types of creativity type model and to redefine the concept of K-Wave business, which refers to a series of business activities that create, utilize the asset, and reuse the originality of intellectual property assets. This study analyzes the business activities of K-Wave's asset creation, utilization, and talent linkage during 2013~2017. The scope of the asset creation covers the highest ranked movies, dramas, and K-pops, while the utilization of those is analyzed in cosmetics, food, and fashion industries. The personal talent is the source of new K-Wave value creation and Webtoon IP is analyzed. As a result, in the case of movies and dramas, the representative market is China, which is the result of the efforts to avoid the continuation of China's regulation and the development of local OTTs. It is confirmed that the product development for Chinese consumers is active as activities of K-Wave utilization in cosmetics, food and fashion. Interesting is that new K-Wave content is circulated in the beauty sector. Finally, it is confirmed that Webtoon IP, which has been structured with a solid story in individual talent, is the origin of new K-Wave asset creation such as movies and dramas.

• Journal of Internet Computing and Services
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• v.22 no.4
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• pp.123-134
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• 2021

This paper suggests that the Internet is not free through analysis of U.S. Internet history and lawsuits related to the Charter merger in 2016. Generally speaking, the players in internet connectivity market agree to Non-Disclosure Agreement, when connecting their facilities and networks each other. So, I adopted the case study & analysis as research methodologies due to limitation of collecting the transaction data between them. The former finds that Internet access has never been free in U.S Internet history. As we know, some including Content Providers(CPs) argue that the Internet is a free network and there are many cases to use the internet for free, so they came to conclusion that ISPs have no right to charge the users like CPs. This study refutes these arguments in two ways. One is that using the internet has never been free. From ARPANET, known as the beginning of the U.S. Internet, to the commercialization of backbone, no Internet has been considered or implemented for free since the early Internet network was devised. Also, the U.S government was paying subsidies or institutions were paying fees to secure network operations for the NSFNET backbone. the other is that "free peering" refers to barter transactions between ISPs, not to free access to counterpart internet networks. Second, this study analyze the FCC' executive order of conditioned merger approval and the court's related ruling and verify that using the internet is not free. According to the analysis, this study finds that it's real situation to make paid settlements between ISP-CPs (including OTTs) in the US Internet market at the moment. This study concludes that the Internet has never been free in terms of its technical characteristics, network structure, network operation, and system. Also it proposes how to improve the domestic settlement system between ISPs-CPs in terms of policy and regulation.