The white-label video streaming platform publishing solution, Okast, has launched Opsis TV on Fransat Connect. Opsis TV offers theatre plays on-demand.
Fransat is the operator of free-to-view DTT-alternative on satellite in France. It also offers pay-TV offers such as Bis TV, beIN Spots, OCS, and Melody.
Opsis TV offers around 600 live or on-demand plays. The service will be available to 2 million Fransat viewers in early December 2019.
The service costs EUR5.99 per months with a seven-day free trail period. The company hopes to attract between 10 and 15,000 subscribers within the next three years.
A strategic partnership between Okast, which publishes the web and mobile version, and Ngine, which deploys the HbbTV version resulted in offering a version of Opsis TV adapted for a high-quality TV experience.
Xavier Pryen, HDP General Manager (publisher of Opsis TV and Docs TV OTT services): “For Opsis TV, this means developing its audience through the distribution of the service on as many channels as possible. Also, the Hbbtv application that we have just developed with the help of our technical partners Okast and Ngine allows us to offer the service on TV sets compatible with the Hbbtv 1.5 standard, via the Fransat satellite TV distributor, which will distribute our offer as of December 2019. This is an important step in winning new subscribers and thus offering more than ever accessibility to culture for all.”
Bertrand Issard, Managing Director of Ngine Networks: “Connected TV applications and HbbTV, in particular, allow publishers such as Opsis TV to broadcast their content and meet a wide audience. This approach to broadcasting on all types of screens is a fundamental trend in the current audiovisual industry.”
Cédric Monnier, CEO Okast: “We are gradually witnessing a replacement of the linear thematic TV channels created with cable and satellite by premium VOD services, offering rare and high-quality content. We are delighted with this partnership, which opens up new opportunities for independent publishers working for culture and gradually renewing the audiovisual landscape.”
