U.S. HISPANIC Versión en español

SOMOS FAST: We are comfortable keeping our Spanish-language and horror film offering for the next 10 years

Maribel Ramos-Weiner| 31 de marzo de 2024

Luis Guillermo Villanueva: We have seen that a lot of the money that works in traditional TV has been transferred to streaming

SOMOS Group chose films in Spanish and horror to launch its offer of FAST channels: Cine en Español and Cine de Horror, due to the strength they have in both where they have stocked content library and because of the limited horror offer available for Latinos making it a good business opportunity.

“We feel comfortable with Spanish-spoken and horror cinema because we feel that we can continue with our content in the same way for the next ten years. We have a lot of quality products since we have 21 years in the market looking for content: classic cinema, very modern cinema, and everything in between,” highlighted Luis Guillermo Villanueva, VP and COO of SOMOS FAST of Grupo SOMOS.

FILM AND HORROR POPULAR GENRES FOR LATINOS
Cinema in Spanish is one of the great strengths of Grupo SOMOS. “All cinema from Spanish-speaking countries in the US is where we have had the most strength, both in ViendoMovies and in Flix Latino. We handle a lot of content and catalog and have experience watching the movies that Latinos like here in the US. We feel very comfortable to continue increasing our catalog, our strength, and our position as a channel within that genre,” said Villanueva.

Regarding horror, Villanueva explained it is one of the most requested genres by the group’s base audience. “Latinos watch it a lot because of all the stories we have had: Los Cuentos de la Cripta, La Llorona, and El Chupacabras have been very popular because they feel attracted towards the supernatural and fear. This type of entertainment is in short supply. We think the market needs to offer something different, which we can effectively feed as comfortably as Spanish-spoken cinema,” he explained.

FAST IS THE LOGICAL STEP TO FOLLOW FOR THE GROUP
Villanueva said that FAST was the logical step to follow in the way data-driven TV is moving.

“Besides all the products we have on TV and SVOD channels, aside from what Grupo SOMOS is, it seemed we needed an avenue such as FAST. After the ViendoMovies product on pay TV or the Flix Latino product on SVOD, with the time we have in the market distributing content traditionally and digitally and producing for TV and cinema, we thought it was natural to operate in the FAST space,” he said.

He considers that FAST is a space similar to traditional open TV, which had advertising daily slots based on the brands that wanted to promote those channels directly. “We feel that the advertising rate is growing more every day. We have seen that a lot of the money that works in traditional TV has been transferred to streaming, and we feel that it is a bet based on the CPM (cost per thousand) of each of the advertisers, which is where the money comes from for this project,” he indicated.

He said that the current CPM is between seven – if it is something automated – and can reach up to 25 if it is something centralized. He emphasized that true growth in FAST will occur when those CPMs rise “to support the production of direct content for this market and not just library content as is currently being used.”

He clarified that they will not do original production for this project, “but we want to establish ourselves in distribution to be positioned to wait for that growth.”

For Villanueva, a CPM level of 7 and 25 is low for what is ongoing in the industry. “But advertising rates should rise as everything moves from traditional TV to streaming. Indeed, the channels are slowly consolidating, making us understand which advertising works and where with less space for that advertising. In the US, you can see the volume of advertising that enters the FAST market, but it is still being distributed between premiere, SVOD, and open FAST channels. But every day, the investment is moving towards that open market, that is why you see all the Netflixes in the world releasing a plan with ads; the user is changing to watching TV on the Internet with advertising. I would expect the rise of the CPM in the next three to five years in the US, while in Latin America a few years later or following the US market trends.”

DISTRIBUTION IN ALL THE AMERICAS
Cine en Español and Cine de Horror have distribution across the Americas.

“We are on connected TV and mostly on platforms in the US, from the largest to the emerging ones. Until we can go to market with a unified voice, we cannot speak specifically about the agreements we have closed. I think that by the end of the second quarter or beginning of the third, we could talk a little more about that,” he concluded.

Diario de Hoy

viernes, 27 de septiembre de 2024

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Comenzó la décima edición de SMARTFILMS con más de 1.200 cortometrajes hechos con celulares

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VIPS

• José Luis Sánchez de Natpe Global: Venimos a México a explicar qué es RealScreen Summit y las ventajas de participar en ambos eventos

• César Sabroso de A+E: Producir Huellas para celebrar 70 años de VW en México es ejemplo de unir esfuerzos con marcas para causar mayor impacto

• Productora Nidian Abella: SMARTFILMS me dio la posibilidad de difundir mensajes que resuenen con todos los públicos

PERSONAJE DE LA SEMANA

Roberto Stopello, showrunner y series developer de Netflix

Roberto Stopello es personaje de la semana en PRODU, tras la entrevista exclusiva ofrecida a Ríchard Izarra en #PRODUprimetime, donde reveló detalles de su nueva etapa profesional, después de dejar su cargo en enero de este año como VP de Desarrollo para México en Netflix. Ahora sigue trabajando en exclusiva para la plataforma, pero con mayor libertad y con la posibilidad de pasar tiempo de calidad con su familia. Además, puede vivir en Orlando, EE UU, donde están sus afectos.

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ACTUALIDAD

• Globo presenta al mercado internacional telenovela Manía de ti de João Emanuel Carneiro

• Shooting in Spain intensifica su presencia internacional para atraer rodajes a España

• Festival Internacional de Cine de Cartagena de Indias abrió convocatoria para la selección oficial de su edición 64

• ICEX España lanza la campaña Spain, Where Talent Ignites para potenciar la imagen internacional de la marca Audiovisual from Spain

El oráculo 35 años: Cecilia Gómez de la Torre

FIC Monterrey celebra vigésima edición con foco a reforzar su internacionalización

Diana Cobos del FIC Monterrey: Incrementamos la parte de Industria como parte del crecimiento del Festival

Arturo Sampson de Exile: Estrenaremos en Telemundo miniserie documental con J. Balvin que abordará temas mentales

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CONTENIDOS

• Mi pequeña princesa del catálogo de Latin Media lidera la audiencia en República Dominicana

• Netflix lanza documental argentino María Soledad: El fin del silencio el próximo 10 de octubre

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VIPS
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Natpe fortalece su propuesta como mercado con la incorporación de RealScreen Summit, dos mercados en uno, ambos a realizarse en la semana del 3 al 7 de febrero en el Hotel InterContinental de Miami. De esta manera, incrementa su propuesta de valor, al ofrecer un mayor acceso a distribuidores y compradores de EE UU y global, con el atractivo de nuevos contactos y negocios para el mercado latinoamericano. Otra ventana es que se distancia de Content Americas en el espacio de tiempo. Sobre estos temas habló en México José Luis Sánchez, gerente para Latinoamérica, EE UU y Global de Natpe Global, quien viajó a este país junto a César Díaz, en una cruzada de ventas y promoción del evento.

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ACTUALIDAD
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Gabz, Agatha Moreira, Chay Suede y Nicolas Prattes son los protagonistas de Manía de ti
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CONTENIDOS
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Mi pequeña princesa
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Netflix estrena el próximo 10 de octubre en todo el mundo María Soledad: El fin del silencio, documental argentino de Red Creek y Néctar Films sobre el femicidio de María Soledad Morales, a 30 años de su asesinato.

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