![]() That said, we can mention MGM as a company in line to inject NFTs into its organization, given the US media giant’s growing interest in video delivery disruptor Eluvio – deploying the vendor’s Content Fabric software across its digital marketing properties. One roadblock to adoption is that bigger entities are unlikely to embrace technology that disrupts so many of the existing partnerships and distribution deals in place across the numerous and complex monetization chains. NFTs have certainly found a comfortable home among the music community, but where else could the technology be applied within the entertainment ecosystem? Live sports? Gaming? SVoD platforms? We can envisage NFTs helping sports clubs or franchises reach fans on a D2C basis, while movie studios – big or small – could jump on the bandwagon by offering exclusive merchandise, screenings, or bonus footage as NFTs. “There is potentially significant value in building a dedicated business to support these new forms of digital assets from both a monetization and promotional perspective,” stated Robert Ellin, Chairman and CEO of LiveXLive. ![]() Its PPV platform allows artists to take their audio or video content direct-to-consumer – for example combining full-length shows with unique behind-the-scenes footage or other exclusive perks such as VIP experiences or limited edition merch. This latest venture builds on LiveXLive’s live stream PPV initiative which was created as a revenue-share model to support artists during a time when concerts and touring were – and remain – at a standstill. Nothing says commitment to a new technology or venture like forming a dedicated wing, and LiveXLive has done just that with the creation of a new digital art content division to focus on the creation, production, promotion and selling of NFTs in the form of music, merchandise, photographs, tickets, posters, and experiences – starting by offering 100 limited edition festival posters.įundamentally, the point of NFTs is to create new revenue streams, appealing particularly to superfans looking to get their hands on a totally unique digital asset, or even ownership records for physical assets, and because each NFT is unique and can be viewed as a collectible that cannot be duplicated, each NFT is a singular item holding its own (potential) value as a collector’s item. Unlike cryptocurrencies, however, the totally unique nature of NFTs means they are not interchangeable with any other asset. These NFTs can be purchased with cryptocurrency, without the purchaser owning the original file, so the artists retain copyright. NFTs are a way of commodifying digital assets such as music files, that are uploaded to a blockchain where copies are recorded on the digital ledger. This multi-faceted structure is what makes LiveXLive’s business model ideally suited for NFTs – a market in which transactions have ballooned 300% to $250 million since this time last year, according to (hardly an impartial source, admittedly). The latest NFT adopter to catch our eye is LiveXLive Media, which is best known as a Spotify rival, but also offers live audio and video streams, pay-per-view content, podcasting, vodcasting, merchandise, and even what it calls “mega events”. Widespread adoption of NFTs could shake pillars of entertainment to their foundations, as middlemen are increasingly cut out of monetization equations – but is this just another bubble set to burst? Last week, Faultline touched on a trending technology coined non-fungible tokens (NFTs) in the context of helping content owners wrestle back control of their creations – whether video, music, or any other artform that can be recorded onto a digital ledger blockchain.
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