with FLUTTERWAVE, RENSOURCE ENERGY & DRUVE TECHNOLOGIES
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SHOOTING FOR NETFLIX
Netflix does not accept unsolicited film submissions. But there are scores of African films and TV Shows on the streaming video-on-demand platform, with between five and ten licensed titles added each month. So how does an African filmmaker get their work on Netflix? The basics are quite straightforward: from ensuring quality of story, sights and sound during production, to gaining organic traction through strategic distribution.
Traction can require you work with big distributors like FilmOne. The Nigeria-based content production and distribution company controls between 30% and 34% of cinema market share in Anglophone West Africa. They own 51 of the 218 screens, and 5,436 out of 25,869 cinema seats in the region. Also, they are a
licensed Netflix agent and have distributed 55 African films to the platform so far.
What Netflix pays for each film – $5,000 to as much as $70,000 – essentially depends on the owner’s bargaining power. But quality storytelling is the first rule especially because international festivals are a great place to convince agents, in case your film fails to get attention in cinemas. With Netflix shopping to license more African titles for its 182 million global subscribers, fortune favours those who create compelling local stories with international resonance.
In the world of telecom network equipment supply, few are able to compete with top vendors like Huawei, ZTE, Ericsson and Nokia. The industry is capital intensive, costing telcos billions of dollars in infrastructure installation and maintenance.
Telecom Infra Project, a telecoms industry group, has developed an open radio area network (OpenRAN) to expand the supply space for more vendors to help lower costs without sacrificing efficiency and outcomes. US-based company Parallel Wireless is leading the push for OpenRAN adoption in Africa by providing software architecture that allows telcos deploy equipment from any vendor, Abubakar Idris writes.
Find out more about how this new standard will help African telcos develop more broadband capabilities at a reduced cost.
MUSIC STREAMING GIANTS
Music streaming platform Deezer celebrates ‘Africa Day’ today and has published its list of African artists with the most streamed songs so far this year. Algerian singer, dancer and rapper Soolking takes top spot as the most-streamed artist in sub Saharan Africa. Nigeria’s Burna Boy, Egypt’s Amr Diab and South Africa’s Kabza De Small are also in the top five most streamed African artists in Africa.
The mechanics and economics of streaming is rubbing off on how music is made and consumed on the
continent. Songs are getting shorter as artists optimize for replay value. We are not surprised to see Burna on this list; he made great music in 2019 but, as this Abubakar piece very well describes it, he created African Giant for the “shorter attention span” age of streaming.
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Ingressive Capital is a Nigeria-based venture capital firm with a portfolio of investments that includes Paystack, Tizeti, Oze and 54Gene. It participated in the latter’s recent $15 million Series A round due to the significant growth in the health sector in emerging markets, with potential for 10-digitl-plus exits.
That’s according to Maya Horgan Famodu, Ingressive Capital’s founder and CEO. Famodu’s firm has made investments of up to $1.3 million across 13 companies. Despite the pandemic, they are optimistic about the future of tech innovation and business on the continent.
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