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On paper, it’s the perfect setup. Yet, behind the scenes, things don’t always move as quickly as expected. Work slows down. Teams jump between platforms that don’t quite connect. Reports take days instead of hours. It’s not a lack of innovation. It’s an excess of it, or perhaps, an excess of disconnected innovation.

Most companies don’t have a technology problem; they have a coordination problem. They’re building stacks instead of systems. This is where media technology integration becomes essential – not just to connect tools, but to make the entire ecosystem work as one.

The illusion of progress

There’s a certain comfort in seeing a long list of tools in use – media asset management here, analytics there, automation on top. Everything looks sophisticated. Investors and board members see the dashboards, the acronyms, the integrations, and assume things are running smoothly.

But the reality is often more complicated. The tools rarely speak the same language. Teams end up doing manual exports, reformatting data, and fixing the same issues again and again. It’s progress that looks good on paper but feels clunky in practice.

The irony is that the more tools are added to fix inefficiencies, the worse the inefficiencies become. A true media technology integration strategy should simplify operations, not multiply them. Without it, even the most advanced setup becomes fragile and difficult to maintain.

One new platform promises automation. Another promises better visibility. But each adds another layer of complexity, and soon, managing technology becomes a full-time job in itself.

The real cost of complexity

Fragmentation doesn’t just slow down production. It creates invisible costs that accumulate over time.

• Missed ad opportunities. When ad servers, content libraries, and analytics tools aren’t aligned, campaigns misfire, impressions go untracked, and audience insights stay buried.
• Viewers dropping out. Every buffering issue, playback glitch, or login delay erodes user trust. Once viewers leave, it’s difficult, sometimes impossible, to win them back.
• Innovation bottlenecks. A single new feature can trigger weeks of testing across teams, each working in isolation. Progress becomes a chain reaction of dependencies.
• Duplicated costs. Overlapping licenses, multiple vendors, inconsistent maintenance. It all adds up to money that could have been spent on content, growth, or better user experience.

When Spyrosoft BSG audits architectures for broadcasters or streaming services, what we often find isn’t underinvestment but over-investment. Too many tools, too many moving parts, not enough media technology integration to connect them all.

From tech stacks to connected systems

The companies that move fastest today aren’t the ones adopting every new platform – they’re the ones connecting what they already have.

A true media system isn’t just a collection of technologies. It’s an ecosystem where MAM, OVP, DRM, ad tech, and analytics form one continuous flow. When everything works together, data becomes actionable, workflows shorten, and innovation stops being a bottleneck.

That’s where Spyrosoft BSG steps in.
Our role is to help media companies turn complexity into clarity. We connect fragmented systems, fine-tune performance, and make sure technology serves business goals rather than slowing them down.

Making media technology work together

Technology alone doesn’t solve fragmentation. It takes the right mix of engineering, architecture, and ongoing support to make systems move in sync.

• Integration – connecting MAMs, OVPs, DRM, ad tech, and analytics into one consistent workflow.
• Optimisation – spotting weak points and fine-tuning performance to reduce latency and improve stability.
• Automation – speeding up testing, delivery, and updates through smart DevOps pipelines.
• Evolution – preparing systems for the future, including FAST channels, D2C models, and AI-powered recommendations.

We’ve built and maintained complex streaming ecosystems for global media brands – broadcasters, sports leagues, and OTT platforms. The goal is always the same: to make sure every piece of the system supports the business instead of getting in its way.

Beyond media: a broader pattern

Interestingly, this challenge isn’t unique to entertainment. Healthcare, aerospace, manufacturing – all face the same issue in their own way. Advanced tools that don’t quite fit together. Systems that were never designed to communicate. Data that moves slower than it should.

This is why the Spyrosoft Group – now over 1,900 engineers, architects, and consultants worldwide – focuses on helping organisations move from scattered tools to connected systems that scale.
Because meaningful progress doesn’t come from adding more technology. It comes from making what’s already there work together – efficiently, intelligently, and in service of the people who actually use it.

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For broadcasters, every missed second can mean lost revenue, compliance issues, and frustrated advertisers demanding more control. According to industry estimates, inefficient ad delivery and mistimed spots cost broadcasters millions every year. And while the rise of streaming has introduced dynamic ad insertion (DAI) tools, live broadcasts remain the toughest environment to manage. 

Why? Because most ad-tech systems still operate too far downstream – closer to the player than to the source. 

Why traditional workflows fall short 

In a typical broadcast setup, advertising opportunities are defined by SCTE-35 markers – digital cues that indicate when a break starts or ends. These signals travel downstream to trigger ad insertion via servers or playout systems. 

That approach works well for scheduled content but struggles with live broadcasts, where timing is constantly changing. A few seconds of overtime can throw off the schedule and cause misfires. The result: missed opportunities, repeated spots, and manual corrections. 

Common pain points include: 

• Lost ad inventory when breaks don’t align with the live feed. 

• Increased operational load due to manual marker adjustments. 

• Limited regional flexibility, especially across multiple feeds. 

• Compliance risks when timing errors occur during regulated broadcasts. 

Even sophisticated downstream systems can’t solve these problems entirely because the real control point sits too far from where the live signal originates. 

Moving ad control to the source 

To solve the problem, broadcasters are rethinking where control happens. Instead of relying solely on downstream systems, ad management can now take place at the head end – the point where content originates and is prepared for distribution. 

This shift allows broadcasters to manage ads at the signal level, reacting to live events in real time. Rather than waiting for downstream systems to catch up, ad control happens at the source – instantly, automatically, and accurately. 

This approach depends on two key technologies: 

• SCTE-35 which defines opportunities for ad placement within the video stream. 

• ESAM (Event Signalling and Management), which manages those opportunities dynamically and ensures correct ad execution. 

Together, they enable real-time flexibility, improved compliance and smoother viewing experiences across multiple platforms. 

How POIS and ESAM make it possible 

At Spyrosoft BSG, we’ve built two complementary tools that make head-end ad control simple, scalable and effective: POIS and ESAM. 

POIS – Placement Opportunity Information Service 

POIS defines and manages all potential ad placement points within a broadcast. It tells the system where ad opportunities exist and provides structured data about each one –duration, timing, and conditions. This ensures that all opportunities are clearly defined and available for use at any moment. 

ESAM – Real-Time Event Signaling and Management 

ESAM is the system that executes those opportunities in real time. It determines how and when each placement is activated – inserting, replacing, or removing ads directly at the signal level. ESAM also ensures compliance with SCTE-35 rules automatically, without the need for manual marker edits. 

When used together, POIS and ESAM provide broadcasters with: 

• Full control at the signal level – insert or change ads in seconds. 

• Accurate regional targeting from a single master feed. 

• Automatic marker compliance, removing manual adjustments. 

• New monetisation options, without heavy infrastructure changes. 

This combination gives broadcasters both agility and confidence – the ability to react instantly while maintaining operational stability. 

From metadata to monetisation 

POIS and ESAM together bridge the gap between broadcast, OTT, and programmatic TV. By enriching SCTE-35 markers with contextual metadata (such as IAB categories and segment IDs), broadcasters can feed downstream SSPs and DSPs with structured, standardised data, enabling advertisers to target audiences with precision and value ad inventory more effectively. 

This approach supports a wide range of use cases: 

• Context-driven ad replacement – trigger specific ad campaigns (e.g., sports betting, food delivery, automotive) based on live content context. 

• Regional targeting and blackout management – replace or mute content in restricted territories while monetising alternative feeds. 

• Regulatory compliance – ensure ad replacement when certain categories (e.g., alcohol, gambling) are restricted. 

• Operator-level differentiation – deliver customized ad inventories to different operators without affecting the core broadcast. 

• Event-driven flexibility – dynamically adjust ad breaks during live sports or concerts to maximise relevance and revenue. 

In short, it’s a business enabler: connecting ad tech with broadcast operations to unlock new revenue streams. 

Real-world example: ITV’s path to regional ad precision 

Context 

ITV, one of the UK’s largest commercial broadcasters, delivers a mix of national shows, regional news, and live sports across multiple regions. As regional and addressable advertising became increasingly valuable, the broadcaster’s EPG-based ad workflows proved too rigid. Advertisers sought to target specific areas – London vs. Manchester, for example – but uniform ad breaks across all regions limited flexibility and revenue potential. 

The challenge 

ITV’s traditional ad model relied on fixed EPG schedules and downstream SCTE-35 signaling. This approach led to: 

• Lost ad opportunities when live programs ran over schedule. 

• Manual configuration and maintenance for each region. 

• Limited ability to execute dynamic, region-specific campaigns. 

• Compliance challenges with OFCOM timing requirements. 

The solution 

Spyrosoft BSG introduced POIS at ITV’s head end, integrating it directly with the broadcaster’s EPG and automation systems.
POIS continuously monitors live playout and adjusts SCTE-35 markers in real time, ensuring each region receives the same program feed but with custom ad triggers. 

If a live event extends, POIS automatically synchronises new break timings with both EPG data and regional ad servers — enabling regionalised, context-aware advertising without duplicating feeds. 

Results and benefits 

• For ITV: Increased flexibility, reduced manual operations, and new regional ad inventory. 

• For advertisers: Precise geo-targeting and better ROI through locally relevant spots. 

• For viewers: Seamless, synchronised ad breaks aligned with their region and context. 

Business impact 

By implementing POIS with EPG integration, ITV gained dynamic control over regional ad delivery. The broadcaster can now serve tailored campaigns per region, maintain compliance automatically and enhance consistency across both linear and digital platforms, all from a single, unified feed. 

A practical path to modern ad control 

Implementing new ad management doesn’t have to mean rebuilding the entire broadcast chain. Spyrosoft BSG’s process is fast, flexible and proven in live environments: 

1. Consultation – Assess your existing systems and identify challenges.
2. Pilot rollout – Test POIS + ESAM on selected channels or live events.
3. Full deployment – Integrate with encoders, ad servers and monitoring tools.
4. Continuous support – 24/7 assistance, system updates and optimisation. 

This approach allows broadcasters to modernise at their own pace – minimising risk while maximising performance. 

Simple, scalable licensing 

POIS is licensed per active channel – offering predictable operational costs.
Each license includes: 

• 24/7/365 technical maintenance and monitoring. 

• Dedicated DevOps and backend engineers. 

• Ongoing performance optimisation. 

• Access to a Solution Architect for future integrations. 

This model lets partners scale quickly without heavy upfront investment. 

Why now is the time to act 

The global digital video advertising market is projected to reach $659 billion by 2030 with much of that growth driven by live sports and event-based programming. 

Advertisers expect flexibility and precision – the ability to target audiences regionally, respond to real-time moments and maintain consistency across devices. Broadcasters that can deliver this control gain a significant competitive advantage. 

With POIS and ESAM, that level of control is not only possible but practical. The systems empower broadcasters to act instantly, automate complex processes and build new revenue models around the moments that matter most. 

Get in touch with our media tech team to discuss how head-end ad control could work for your operations! 

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It’s a big move for Amazon, one that goes far beyond a software update. Vega OS marks the company’s first real step toward building an entirely independent platform – one that it can control, optimise and expand without relying on Google’s Android ecosystem.

Why Vega OS matters

For years, Amazon’s Fire OS, a customised version of Android, has powered its Fire tablets and streaming devices. It worked well – users got access to Android apps and developers didn’t need to start from scratch. But it also meant Amazon had to play by Google’s rules.

Vega OS changes that.

Built on Linux, the new system gives Amazon full control over performance, design and future updates. It’s lighter, faster, and less resource-hungry – the new Fire TV Stick 4K Select runs smoothly on just 1 GB of RAM, half of what previous 4K models needed.

Amazon says Vega OS delivers “fast app launches and smooth navigation,” and early reports seem to support that claim. But what’s happening behind the scenes is even more important: Vega OS gives Amazon the freedom to evolve its ecosystem on its own terms.

A familiar look, a new core

At first glance, Vega OS doesn’t look dramatically different. The interface, layout and menus are nearly identical to what Fire TV users already know. That’s intentional –Amazon doesn’t want to alienate its audience.

The real difference lies in the foundations. Vega OS is Linux-based and built with React Native 0.72, which means developers can use JavaScript and web technologies to create native apps. Amazon’s new Vega Developer Tools even allow some code reuse, helping developers transition existing projects to the new system faster.

The end of sideloading

If you’ve ever sideloaded an app on your Fire TV, there’s some bad news: Vega OS closes that door.

Unlike Fire OS, which allowed users to install APKs from outside sources, Vega OS limits all app installations to the Amazon Appstore. In Amazon’s own words:

“For enhanced security, only apps from the Amazon Appstore are available for download.”

Technically, developers can still sideload apps using command-line tools, but that’s hardly a practical option for most users. It’s a clear move toward a closed ecosystem, more like Apple’s tvOS or Samsung’s Tizen.

For some, that will mean better security and stability. For others, it’s a frustrating loss of flexibility, especially for those who liked experimenting with niche or custom apps.

Amazon’s “Cloud Apps”: a bridge between worlds

To soften the transition, Amazon has introduced cloud apps – Android apps that run on Amazon’s servers and are streamed to your TV, similar to cloud gaming. Users interact with them just like local apps, but everything happens remotely.

Only selected video streaming apps will use this feature, and Amazon is offering nine months of free hosting to give developers time to rebuild native Vega OS versions. After that, each developer will need to decide whether to stay in the ecosystem or move on.

It’s a clever workaround to keep major streaming services like Netflix, Disney+ and HBO Max available from day one – even if native apps aren’t ready yet.

Developers face a split ecosystem

For now, Amazon isn’t abandoning Fire OS completely. Devices running the Android-based system will continue to get updates and Fire TV models from brands like Hisense, TCL and Panasonic will still use it for the foreseeable future.

That means developers now face a two-track ecosystem:

• Fire OS (Android-based)
• Vega OS (Linux-based)

Maintaining two separate versions of the same app will be challenging, especially for smaller teams. It’s a necessary step if Amazon wants to transition smoothly, but it could slow down how fast new apps and updates reach users.

Why Amazon is doing this

Amazon’s motivation is easy to understand. By moving to Vega OS, the company gains:

• Full control over its software and update cycle.
• Freedom from Google’s licensing rules.
• A unified platform across Fire TV, Echo and future smart devices.
• Better integration of Alexa, Prime Video and advertising features.

It’s a strategy we’ve already seen from Apple (tvOS), Samsung (Tizen), and LG (webOS) – and now Amazon wants to play in that same league.

What it means for users

If you’re a casual Fire TV user, you might not notice much difference at first. The interface looks the same and your favourite streaming apps will still be there. But under the hood, Vega OS is a major shift: it’s faster, more efficient and built for the long term.

If you’re more of a power user, though, this update could feel restrictive. Without sideloading or easy app access, Fire TV becomes a more curated, less customisable experience. That trade-off will likely define how Vega OS is received.

A cautious but ambitious step

Vega OS is Amazon’s bid for independence in the smart TV space. It’s designed to make the Fire TV ecosystem leaner, faster and more secure, while setting the stage for broader use across Amazon’s hardware lineup.

Whether Vega OS succeeds depends on how fast developers adapt and how well Amazon manages the balance between control and openness. For now, it’s an ambitious start and one that could reshape how millions of users experience streaming on Fire TV.

If you’re planning to build or adapt your app for Vega OS, get in touch with us — our team can support you in creating, testing and optimising applications for the new Fire TV environment.

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Yet many organisations still struggle. Broadcasters face broken ad workflows. Sports leagues hit scalability issues when fan numbers peak. Retailers experiment with video commerce, only to see poor engagement. Even with advanced tools in place, the results often don’t match expectations.

This raises an important question: do we really need more products, or do we need a better way of using the ones we already have?

The overcrowded streaming and media tech landscape

The market is crowded with acronyms and platforms:

• Online Video Platforms (OVPs) for hosting and distribution.
• Ad tech solutions for programmatic advertising and dynamic ad insertion.
• Monetisation models such as AVOD, SVOD, TVOD, or hybrids of them all.
• Media Asset Management (MAM) and Digital Asset Management (DAM) systems for organising massive libraries.
• Security tools like DRM, encryption and watermarking.
• AI-powered engines for analytics, personalisation and audience insights.

Individually, each of these has value. Together, they often create complexity. Organisations end up with too many dashboards, fragmented data and overlapping features. Instead of an integrated ecosystem, the result can feel like a collection of disconnected parts.

Key insight: Technology is not the missing ingredient. The real issue is bringing all of it together in a way that aligns with business goals.

Every company is becoming a media company

The boundaries of media are no longer limited to traditional broadcasters or publishers.

• Retailers are producing live shopping streams and interactive product videos.
• Automotive brands are embedding entertainment platforms directly into vehicles.
• Healthcare providers are distributing video-on-demand for patient education.
• Sports leagues are launching direct-to-consumer OTT platforms to reach fans worldwide.

Despite operating in different sectors, their challenges are strikingly similar:

• Delivering content at scale across devices and geographies.
• Protecting valuable rights without creating barriers for viewers.
• Monetising content effectively, whether through subscriptions, advertising, or pay-per-view.
• Maintaining viewer engagement in an environment of endless choice.

Products help with specific functions, but they rarely solve the complexity of building an end-to-end streaming or OTT platform. That’s why so many organisations face siloed workflows, wasted investment and underwhelming user experiences.

Why services matter more than more products

Adding another tool to the stack does not guarantee success. The real gap lies in expertise – knowing how to make the technology work together.

Examples are easy to find:

• An ad tech system that fails to integrate with content management workflows.
• A recommendation engine deployed without access to behavioural data, producing irrelevant suggestions.
• A robust DRM solution that never achieves its potential because it isn’t configured correctly.

In all cases, the technology itself is capable. The challenge lies in implementation.

What services deliver

• Discovery – Choosing solutions that are cost-effective and aligned with actual business needs.
• Integration – Making different products operate as one coherent platform.
• Operations – Maintaining and optimising performance over time.
• Adaptation – Adjusting platforms to new monetisation strategies, regulatory demands, or audience behaviours.

Products create potential. Services transform that potential into measurable outcomes.

A different way of thinking: how Spyrosoft BSG approaches media & entertainment

Many vendors in the media and entertainment space focus on selling products. Their pitch often revolves around features: faster, smarter, more automated. That approach has its value, but it doesn’t always help when the real obstacle is complexity, not capability.

Our approach starts earlier in the process. Before suggesting a tool, we ask questions such as:

• What are the business goals?
• Where do the biggest bottlenecks appear today?
• Which parts of the existing ecosystem are working well and which are slowing you down?

Instead of assuming that a single platform can solve everything, we map out the ecosystem and design solutions around the client’s unique pain points.

Sometimes that means integrating existing tools rather than replacing them. Sometimes it means building new features on top of what’s already there. And sometimes, it means helping clients scale their teams so they can maintain and evolve the platform themselves.

Where many companies see a split between “products” and “services,” we see them as complementary. Products provide functionality. Services ensure that functionality fits the business context and delivers measurable results.

Another difference lies in how we view success. A project doesn’t end when the code is delivered, or the platform goes live. Real success is when a client’s internal team feels confident running the solution, adapting it and scaling it further without unnecessary dependence on external support.

The Build-Operate-Transfer (BOT) model

A proven approach is the Build-Operate-Transfer (BOT) model:

• Build – Establishing a dedicated team, setting up infrastructure and aligning processes with business objectives.
• Operate – Running the team collaboratively, ensuring transparency, efficiency, and quality while scaling where needed.
• Transfer – Transitioning the mature team and knowledge into the client’s organisation, leaving full ownership in place.

This hybrid model combines the flexibility of outsourcing with the long-term stability of in-house capability.

Solving real problems: the CANAL+ case

A good example of this approach is our recent project with CANAL+ Poland, one of the country’s leading premium broadcasters. Like many media companies, they faced a challenge that products alone couldn’t solve. Traditional ad insertion workflows were rigid, based on predefined schedules and didn’t offer the flexibility needed for live broadcasting. This made it difficult to respond to in-signal events, customise ads regionally, or open new revenue streams.

Working closely with the CANAL+ team, we designed and delivered real-time, signal-based ad replacement system. Instead of relying on static ad breaks, our solution enabled CANAL+ to manage SCTE-35 markers directly within the signal stream. That gave them the ability to insert, replace, or remove ads with far greater precision.

The benefits became clear almost immediately:

• More control over live events – ads could be triggered dynamically, for example right after a goal in a football match.
• Regional customisation – satellite and OTT audiences could see different ads depending on their location, all from a single main feed.
• New monetisation models – multiple advertisers could share premium slots during live events, creating fresh revenue opportunities.

We didn’t just deliver the technology and leave. Our team took full ownership of maintenance, feature development, and infrastructure support, ensuring the system stayed stable and ready for future business needs.

The last words

The media and entertainment industry doesn’t lack tools. It lacks ways to make them work together. From streaming platforms and DRM systems to ad tech and recommendation engines, the technology is already out there. What organisations need is the expertise to turn those separate parts into solutions that truly deliver: scalable, cost-effective and sustainable.

That’s why the focus has to shift from products alone to the partnership between products and services. Technology provides the building blocks, but services unlock their real value.

Are you facing similar challenges in streaming, monetisation, or integrations? Let’s talk about how we can help turn your tech stack into a business-ready solution!

The post Why services, not more products, solve media & entertainment challenges appeared first on Spyrosoft BSG.

At IBC2025, one topic was impossible to avoid: artificial intelligence. But beneath the hype, the conversations were pragmatic: cautious about the technology and focused on tangible gains in operations, monetisation and audience engagement. 

AI: promising, but not yet everywhere 

Despite dominating the panels and keynotes, AI is not yet an operational tool. Big OTT players said their systems are stable and don’t need AI-driven maintenance. Smaller operators said they can’t justify the cost.  

Generative AI is showing promise in test automation and production workflows, but “zero-dev” visions are far away – human oversight is non-negotiable. One Scandinavian operator said automated subtitle generation increased, rather than decreased, editorial workload.  

Cloud-first AI solutions are attractive, but integrating with on-prem systems is a major challenge. Vendors offer great pricing models, but migration and operational costs tell a different story.  

Perhaps most worrying: piracy and content security are under-prioritised. Many operators treat piracy as a “priced-in risk,” with few investing in watermarking or end-to-end monitoring. 

At the same time, some industry voices are genuinely enthusiastic – captivated by AI’s potential to reinvent content creation, personalisation and advertising, even if the path from concept to real-world implementation remains uncertain. 

Cloud, scale and speed 

If AI got the headlines, cloud infrastructure got the substance. The panels highlighted how regional players, especially in the Baltics and Asia, are thriving by combining cloud-native agility with smart partnerships. 

Go3, the largest streamer in the Baltics, has already surpassed Netflix in regional subscriptions. Its success isn’t just about premium sports rights and local originals, but also about infrastructure agility – flexible billing systems and rapid experimentation with monetisation models. 

The message was clear: in streaming, the fastest mover wins. Cloud-native architecture lets regional operators move fast, while bigger global players are held back by legacy approval chains. 

FAST, DAI and unified workflows 

FAST channels and dynamic ad insertion (DAI) have plateaued. Engagement and scale matter more than personalisation. FAST is becoming a bridge to new markets, especially in Asia, where GenAI-powered dubbing and subtitling could unlock reach, but legal barriers persist. 

A recurring theme was broadcast and streaming convergence. Unified workflows are emerging to power channels, OTT platforms and FAST together. The idea of a single player supporting all devices may reshape the ecosystem in the next few years. 

Sports: from spectators to creators 

Sports sessions had some of the most forward-looking conversations. A UEFA x Beyond Sports session showed interactive and personalised viewing: fans could choose camera angles, experience matches from a goalkeeper’s POV, re-skin visuals into Roblox-style graphics or even generate and share their own highlights. 

The underlying platform is data- and sport-agnostic, so future applications go beyond football. The trend is clear: fans are no longer passive viewers; they are becoming creators and broadcasters themselves. 

Creativity and localisation: AI as an enabler 

Sessions with Verbit, Deepdub, and Lightricks highlighted how AI is changing creative and localisation workflows. 

• Localisation: AI-driven dubbing promises scalable multilingual delivery, embedding emotive text-to-speech directly into captioning workflows. Yet, human oversight remains essential for cultural accuracy and emotional nuance. 

• Creativity: Tools like Lightricks’ LTX Studio demonstrate how AI can support creators at scale, not by replacing artistry but by rethinking how professionals imagine, develop and execute ideas. Open-source multimodal models are enabling editable, coherent, story-first workflows that keep creators in control. 

The bigger picture 

Across business operations, cloud, advertising and immersive technologies, IBC2025 showed an industry being cautious with innovation. 

• Broadcasters and streamers are scaling across regions with productised, modular solutions that deploy quickly and scale easily. 

• Standardised outcomes are replacing bespoke builds. 

• Cloud, on-prem and hybrid setups remain vital to balancing cost, agility and performance. 

Final takeaway 

IBC2025 made one thing clear: AI may dominate the headlines, but it hasn’t yet transformed day-to-day operations. The majority of broadcasters and streamers are cautious – experimenting where clear efficiencies exist, holding back where the costs, risks or benefits remain uncertain. 

Innovation is welcome, but only when it’s proven, pragmatic and tied to measurable outcomes. For now, the industry is moving forward carefully – choosing stability, reliability and sustainable growth over hype. 

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Europe, however, looks different. We do not yet have a fully developed super app. Instead, we see a highly fragmented market where different companies dominate specific verticals – one for shopping, another for payments, another for entertainment. Regulations such as the Digital Markets Act also make it harder for one player to own the entire ecosystem.

But here comes the interesting part: OTT platforms. Streaming services have already secured a central place in people’s daily routines. They are used frequently, offer highly personalised content, and can be extended far beyond video. Could they become the first true European super apps?

What exactly are super apps?

A super app is a mobile-first platform that integrates multiple services within a single ecosystem. The idea is simple: instead of switching between ten different apps, users rely on one application that does it all.

Typical features of a super app include:

• Communication: chat, social networking, video calls.
• Payments and banking: digital wallets, peer-to-peer transfers, micro-loans.
• E-commerce: online shopping, local services, ticketing.
• Transport and logistics: ride-hailing, delivery, car-sharing.
• Entertainment: gaming, streaming, live events, mini-apps.

By integrating these services, super apps increase user interaction, engagement and overall user experience by providing a seamless and unified platform.

The super apps market stood at USD 127.46 billion in 2025 and is forecast to climb to USD 440.19 billion by 2030.

Why did they emerge in Asia?

• Mobile leapfrogging – in many Asian countries, people skipped desktops and went directly to smartphones, making mobile apps central to everyday life.
• Financial inclusion gaps – super apps provided digital wallets and banking alternatives where traditional banking was limited.
• Large, young populations – millions of mobile-first users were quick to adopt multifunctional apps.
• Strong corporate backing – companies like Tencent, Alibaba or SoftBank invested heavily in ecosystem growth.

In Europe, some companies are moving in that direction, though not at the same scale:

• Revolut is expanding from finance into travel, shopping and insurance.
• Bolt has grown beyond ride-hailing to offer food delivery and micro-mobility.
• Spotify is adding podcasts, audiobooks and experimenting with live events.
• Uber integrates rides, food and shopping.

These examples show there is appetite for more integrated services – but a true all-in-one super app is still missing.

The OTT journey: from streaming platforms to digital hubs

OTT (Over-the-Top) platforms have already gone through a significant transformation:

• Netflix started with DVD rentals, became a global streaming leader and is now experimenting with gaming and interactive content.
• Amazon Prime Video is part of a bundle that connects entertainment with e-commerce, delivery and even cloud services.
• Disney+ leverages its strong brand to integrate merchandise, events and theme park experiences around its video content.

This shows OTT is no longer just about watching movies or series. It’s about engagement, personalisation and cross-platform experiences.

In many ways, streaming services are already mini-ecosystems. The question is how far they can go and whether they can add payments, shopping or social interaction like super apps.

Super App architecture: building the OTT ecosystem

The architecture of a super app is what enables the all-in-one experience for users. At its core, a super app is designed to bring together multiple services like digital payments, food delivery, ride-hailing and more within one app, making it easy for users to access various services on one platform.

A key principle of super app architecture is modularity. This means businesses can add or remove features as user needs and market trends evolve, so the platform remains relevant and competitive. Integration is equally important, so different services work together seamlessly so users can, for example, order food, pay bills or book a ride without ever leaving the app.

Scalability is another important aspect. As demand grows and more users interact with the platform, the underlying infrastructure must be able to handle increased traffic and deliver a good experience. Technologies like APIs and microservices make it possible to create a flexible, modular system that can easily add new services and features. Many super apps use cloud-based infrastructure, containerisation and serverless computing to scale efficiently and securely.

Security is top of mind in super app architecture. With so much user data and so many financial transactions happening, robust security measures are essential to protect users and maintain trust. A well-designed super app platform not only drives user engagement and customer retention but also gives businesses a big competitive advantage in the digital services market.

Why OTT could become Europe’s first super apps

Europe may not be the natural birthplace of super apps, but OTT platforms have unique strengths that put them in a strong position:

• Large, loyal user base – millions of people subscribe to Netflix, Disney+ or local streaming services, creating a ready-made audience for new features.
• High engagement levels – users spend significant time on streaming platforms every week, making them attractive gateways for additional services.
• Advanced personalisation – OTT platforms already use AI-driven recommendation engines to tailor content. This can be extended to commerce, advertising or social features.
• Convenience factor – while Europeans may resist a “one app for everything,” they do value seamless, integrated experiences. OTT platforms could be the middle ground.

For example, imagine a sports streaming service where fans not only watch games but also buy merchandise, join fan communities, bet on live matches and purchase tickets – all without leaving the app. That is a super app approach applied to the OTT world.

Monetisation 2.0: lessons OTT can learn from super apps

Traditional OTT monetisation models rely heavily on subscriptions. But with subscription fatigue growing, streaming services need new revenue streams. Here, super apps provide valuable lessons.

Super apps monetise through:

• Tiered subscriptions and memberships.
• Microtransactions (virtual items, small upgrades, premium access).
• Advertising and sponsored content.
• Marketplaces (shopping, event tickets, merchandise).
• Cross-selling (insurance, financial services, travel).

For OTT, this opens the door to integrating e-commerce features, such as the ability to buy products shown in a series, as well as expanding into live events and ticket sales. Platforms can also offer exclusive fan experiences through microtransactions and create hybrid business models that combine ads with subscriptions. By diversifying revenue in this way, OTT platforms reduce dependency on subscription churn while unlocking new business opportunities.

Challenges on the road to becoming a super app

While the opportunity is real, building an OTT super app in Europe will not be easy.

• Technological barriers: building an app that integrates streaming, e-commerce and payments requires a highly scalable, secure and flexible infrastructure.
• Regulatory environment: the GDPR and Digital Markets Act limit how companies can use data and control ecosystems. Super apps in Europe must prioritise transparency and compliance.
• User behaviour: Europeans are used to specialised apps. While they want integration, they may resist an “all-in-one” approach if it feels overwhelming.
• Competition: big tech players like Apple, Google, and Amazon already operate strong ecosystems. For OTT providers, competing on this level requires partnerships and innovation.

The future of OTT in Europe: towards digital ecosystems

The OTT industry is at a crossroads. Staying “just streaming” may not be enough in the long term. Instead, the most successful platforms will likely become digital ecosystems where entertainment is the entry point, but not the only service.

AI is set to drive the next big shift in media and streaming, bringing hyper-personalisation that goes far beyond recommending shows to include products, services and experiences. It will enable new forms of engagement through interactive watch parties, fan communities and gamification, while also powering smart monetisation with AI-driven ad targeting, contextual commerce and dynamic pricing.

The race is open. Will a global giant like Netflix or Disney+ lead the way? Could Amazon Prime extend its dominance even further? Or will regional disruptors create niche super apps tailored to local markets?

Conclusion

The rise of super apps shows a clear direction: users value convenience, integration and engagement. While Europe may not copy the Asian model 1:1, OTT platforms are well placed to adapt this concept for local audiences.

To prepare for the future, OTT providers should:

• Experiment with ecosystem features – beyond streaming, explore commerce, events and communities.
• Diversify monetisation models – reduce reliance on subscriptions by adding ads, microtransactions, and e-commerce.
• Invest in AI and personalisation – build smarter recommendations and tailored user experiences.
• Form strategic partnerships – with payment providers, brands, and service companies to expand the ecosystem.

The lesson from Asia is clear: the more users can do within one app, the longer they stay and the more value they generate. For Europe, OTT platforms might be the ones to make this happen – and become the region’s first super apps.

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The collaboration is designed to help enterprises overcome critical challenges in the subscription economy – from fragmented billing systems and complex integrations to manual revenue settlements – by providing a unified, SaaS-based solution combined with Spyrosoft BSG’s engineering expertise.

Through this collaboration, enterprises will benefit from:

• Consolidated billing systems that reduce operational overhead and improve customer experience.
• Accelerated integrations using a no-code/low-code framework combined with engineering expertise.
• Automated revenue and royalty settlements, ensuring transparency and accuracy in real time.
• Scalable and flexible platforms that allow businesses to quickly adapt pricing models, bundles and promotions to meet changing market demands.

This approach strengthens Spyrosoft BSG’s extensive expertise in media and streaming solutions, where monetisation is a critical driver of success and long-term growth.

“By combining our deep software delivery expertise with OneBill’s proven billing platform, we can help enterprises overcome technical barriers and focus on delivering value to their customers,” said Jonathan Witte, SVP of Business Development at Spyrosoft BSG.

“Monetisation of complex pricing models has become one of the most critical challenges for companies operating in the subscription economy. Our partnership with Spyrosoft BSG allows us to deliver not only a robust SaaS platform, but also the engineering expertise required to customise and scale solutions for diverse business needs,” added Mohit Nanubhai, VP of Partnership at OneBill Software Inc.

The Spyrosoft BSG and OneBill teams will showcase their joint solution and how they help enterprises address monetisation challenges at Booth 5.H52 during the IBC2025 in Amsterdam.

About Spyrosoft BSG

With 15 years of experience, Spyrosoft BSG specialises in custom software engineering and strategic consulting for the media industry. The company helps clients design, develop, and implement solutions that address industry challenges and improve audience engagement. Since 2022, Spyrosoft BSG has been part of the Spyrosoft Group, leveraging the strength and resources of a global organisation to deliver even more comprehensive solutions to its clients.

Spyrosoft BSG has delivered projects for over 250 clients, including leading names in media and entertainment such as ITV, UKTV, TV2 Norway, Nordisk Film and Orange.

About OneBill

OneBill is a global provider of billing and revenue management solutions, founded in Silicon Valley and now operating across four continents. The OneBill platform empowers telecom leaders, IoT disruptors and fast-growing SaaS companies to monetise their services through a system that adapts to diverse business models, automates complex processes and scales with growth.

Trusted by both global enterprises and innovative scale-ups, OneBill’s customers include Exclusive Networks, Comcast, Hewlett Packard Enterprise, ViewNexa and SIPPIO.

Spyrosoft BSG Media Contact

Damian Maicher
Marketing Manager
[email protected]
+48 727903767

OneBill Media Contact

Barathi Balakrishnan
VP of Marketing
[email protected]
+1 844-462-7638

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YouTube still dominates: approximately 65.8 million creators post on YouTube monthly, while the platform reaches 3.8 billion unique visitors each month. However, recently, more and more YouTubers are expanding their activities and launching their own streaming platforms. Why? It all comes down to control, creativity and community. 

Let’s take a closer look at why YouTubers are saying ‘thank you’ to YouTube and then building something that is truly their own. 

1. YouTube Partner Program isn’t enough anymore

The YouTube Partner Program (YPP) has long been seen as the holy grail for aspiring creators, offering a share of ad revenue and monetisation tools once certain thresholds are met. But as the creator economy matures, it’s becoming clear that YPP isn’t always the sustainable model it once promised to be.

While it gives access to monetisation, it also comes with high dependency on factors out of the creator’s control: algorithm changes, content eligibility rules, advertiser demand and strict policy enforcement. Creators can be demonetised without warning, see revenue drop overnight or lose access to certain monetisation features due to changing platform priorities.

And then there’s the revenue split: YouTube takes up to 45% of what your videos earn through ads. That’s a big chunk, especially when compared to running your own platform, where you keep more of what you earn, set your own pricing and explore new ways to make money beyond ads.

2. YouTube creators are outgrowing the algorithm

YouTube’s algorithm is undeniably powerful, but it doesn’t always play nice with creativity. It tends to reward what’s familiar, not what’s new. Once you find a format that works, the pressure is on to repeat it over and over, even if you’re ready to evolve and try something different. 

Many creators have expressed frustration at feeling creatively trapped. They want to produce deeper, longer or more nuanced content – but doing so could risk fewer views, less engagement and a hit to their income. According to a survey by Patreon, over 60% of creators say they’ve changed their content to “please the algorithm”, even when it didn’t align with their brand or audience goals. 

By building their own streaming platforms, creators can finally break free from these constraints. They can: 

• Decide how long their content is and what it looks like 

• Stop worrying about thumbnails, titles and clickbait 

• Focus on quality, not just quantity 

A standout example is Dropout, launched by the former CollegeHumor team. After years of making fast, punchy sketches for the algorithm, they pivoted to their own subscription-based platform. There, they’ve created long-form shows like Dimension 20 and Game Changer: experimental, serialised content that likely wouldn’t have succeeded on YouTube. And it worked: the shows have built loyal, paying fanbases, no algorithm required. 

3. YouTube creators want business independence

YouTube gives creators access to a massive audience but not much control. Monetisation rules can change overnight, ad revenue is unpredictable and platform restrictions often get in the way of running a business on your own terms.

By launching their own streaming platforms, creators gain the ability to set their own pricing models, keep a larger share of the profits and manage subscriptions or content sales directly.

They also gain access to valuable audience data and can create premium offerings like digital courses, exclusive content or membership tiers – without waiting for platform approval or sharing profits with a middleman.

In short, they stop being just content creators renting space on someone else’s platform – and start running their own businesses.

Take Yoga With Adriene, for example. While her YouTube channel has millions of followers, she went a step further and launched Find What Feels Good, a subscription-based platform. It features structured yoga programmes, multi-week challenges and members-only content. This setup provides her with direct revenue, ownership of user data and the freedom to grow her brand without relying on YouTube’s monetisation rules or splitting revenue.

4. Monetisation becomes more diverse and reliable

Making money on YouTube can feel like a moving target. Ad revenue is unpredictable, swinging with algorithm changes, CPM rates and seasonal shifts. Brand deals can bring in solid income, but they often come with creative restrictions, lengthy approval processes and tough competition. 

While platform memberships offer some recurring revenue, YouTube still takes a big cut and creators have limited control over how their offerings are structured or priced. 

With their own streaming platforms, creators gain the freedom to build and manage multiple revenue streams on their own terms. That includes: 

• Monthly or annual subscriptions that grant access to exclusive, premium or ad-free content. 

• Pay-per-view and rentals for high-effort productions, behind-the-scenes material or limited-time access. 

• Online courses, workshops and masterclasses, especially for creators in education, wellness or business niches. 

• Exclusive merchandise bundles available only to subscribers or fans within the platform. 

• Access to live events, meetups, Q&A sessions or digital premieres with ticketing or gated entry. 

• Tiered memberships offering perks like early access, downloadable resources, personalised content or community features. 

A great example of this model is Nebula, a streaming platform created by educational creators like Thomas Frank, LegalEagle and Real Engineering. Nebula offers ad-free, exclusive content for a monthly subscription fee. It gives creators recurring, dependable income and lets them share videos that might not perform well on YouTube, but still resonate deeply with their audience. 

5. They are building stronger, direct-to-fan communities

YouTube offers incredible reach, but not always real connection. Even with millions of subscribers, many creators feel distant from their audiences. Comments get lost, notifications don’t always go out and there’s no direct way to communicate with fans or understand who they really are. Most importantly, creators have no access to their audience’s contact info, making it tough to build lasting relationships off-platform.

Independent streaming platforms flip that dynamic. With full access to audience data, creators can:

• Communicate directly with their fans
• Send personalised updates and announcements
• Understand viewing habits and preferences
• Build segmented, engaged communities

One of the best examples is the Sidemen, a UK-based group of YouTube creators who went far beyond the platform. In addition to their hit YouTube videos, they launched Side+, a subscription platform that offers exclusive content, behind-the-scenes footage, podcasts and unique fan perks.

What started as a group of friends making FIFA videos has grown into a full-scale media brand. With Side+, they’ve created a space where fans feel closer to the creators, get early access to content and become part of a community that shares the same humour and values.

6. They are protecting themselves from platform risk

Even the biggest YouTubers are still playing by someone else’s rules. Algorithm changes, demonetisation, shifting community guidelines – all of these can affect how content is seen, how much money it makes or whether it stays online at all. For creators who rely on YouTube as their main income source, that lack of control is a real risk.

Launching an independent streaming platform changes that. Creators gain a much greater sense of stability and ownership. They’re no longer vulnerable to sudden takedowns or disappearing from their audience’s feed because of an algorithm tweak. They decide what gets published, how it looks, how it’s monetised and most importantly, they keep direct access to their audience, no matter what happens on other platforms.

A great example is Ryan and Friends Plus, created by the team behind Ryan’s World, one of YouTube’s most popular kids’ channels. With regulations around children’s content and advertising getting stricter and platform policies changing frequently, they decided to launch their own app. It’s a safe, ad-free space packed with educational videos, games and handpicked content for families. And best of all, it gives them full control, free from third-party uncertainty.

7. Technology has made it easier than ever

Not long ago, launching your own streaming platform meant huge upfront costs, a custom-built solution and a full tech team. It was a major commitment, in both time and money. Today, that’s completely changed.

With white-label OTT platforms and no-code tools, creators can now build and launch fully branded streaming services in a matter of weeks. No coding, no complex infrastructure. Just a clear idea and an audience to serve.

Modern OTT solutions take care of the heavy lifting: hosting, streaming infrastructure, payments, user authentication, analytics, even app distribution across iOS, Android, Roku and smart TVs.

Platforms like Better Media Suite are designed specifically for creators, educators, and niche content brands. They offer:

• Fully custom branding and user interface
• Support for subscriptions and pay-per-view
• Live streaming functionality
• In-app purchases and tiered memberships
• Advanced viewer analytics
• Tools for community engagement

Because of this tech accessibility, more creators are stepping into ownership.

Conclusion

YouTube offers reach, visibility and access to a global audience. But many creators are looking for more – more control, more creative freedom and more stability. Launching a personal streaming platform puts creators in charge. They decide how their content is presented, how revenue is generated and how relationships with their audience are built and maintained.

But this isn’t about choosing one or the other. YouTube is still a powerful discovery tool – it helps you grow your audience. But having your own platform means you’re no longer at the mercy of algorithms or policy changes. The two can work together: YouTube for visibility, your own platform for independence and long-term value.

Building your own streaming platform doesn’t have to be complex. With the right partner, it becomes a clear, manageable step forward. We support creators and content-driven brands in launching platforms that are fully theirs. Contact us and let’s build it together!

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