Value Chain Definition on the Streaming in Brazil.

The streaming industry in Brazil encompasses the creation, aggregation, technical delivery, and monetization of audiovisual and audio content delivered digitally over the internet to end-users. This value chain involves various actors, from content creators and rights holders to technology providers, platform operators, and internet service providers. The shift from traditional broadcast and physical media to digital streaming has redefined how content is produced, distributed, and consumed, with a significant impact on the Brazilian market.

Value Chain outline

The value chain of the streaming industry in Brazil can be broken down into several key steps:

• Content Production: The initial phase where creative works, such as films, series, documentaries, music tracks, and podcasts, are conceived, developed, and produced.
• Content Aggregation and Rights Management: The process of acquiring, licensing, and curating content from various sources, as well as managing the associated intellectual property rights for distribution on streaming platforms.
• Platform Development and Technology Infrastructure: The building, maintenance, and operation of the technical backbone required for streaming services, including encoding, hosting, content delivery networks (CDNs), and user interface development.
• Distribution and Delivery: The transmission of streaming content from servers to end-user devices over internet networks.
• Monetization and Marketing: Strategies employed by streaming platforms to generate revenue (e.g., subscriptions, advertising, transactional sales) and attract and retain subscribers or users through marketing and promotional activities.
• Customer Access and Consumption: The final stage where users access and consume streaming content through various devices and interfaces.
• Regulation and Legal Frameworks: The set of laws, rules, and policies established by governmental bodies that govern the operation of the streaming industry.

Identification and description of each step in the value chain.

Content Production This step involves the creative and technical processes of bringing audiovisual and audio content to life. It includes everything from scriptwriting and casting to filming, recording, editing, and post-production. A key aspect in the Brazilian market is the production of local and regional content to cater to the specific tastes and cultural identity of the audience.

• Identification and description of segments for each step of the value chain.

  • Film and Series Production: Focuses on creating fictional and non-fictional long-form video content. Activities include script development, financing, casting, principal photography, and post-production (editing, visual effects, sound design).
  • Music Production: Involves the creation, recording, mixing, and mastering of musical tracks and albums. Activities include songwriting, studio recording, arrangement, and audio engineering.
  • Podcast and Audio Content Production: Creation of spoken-word audio content, including interviews, narrative series, and discussion shows. Activities include recording, editing, and sound mixing.
  • Live Content Production: Production of live events, such as concerts, sports events, and news broadcasts, formatted for streaming. Activities include live filming, switching, and encoding for real-time transmission.

• List of types of players in each segment

  • Film and Series Production: Production companies (independent and affiliated with larger studios/streamers), film studios, television networks (producing for their own platforms), showrunners, directors, writers, actors, technical crews.
  • Music Production: Record labels (major and independent), music producers, artists, songwriters, recording studios, audio engineers.
  • Podcast and Audio Content Production: Podcast networks, independent podcasters, audio production companies, journalists, content creators.
  • Live Content Production: Sports leagues and broadcasters, news organizations, event promoters, production companies specializing in live events.

• Detailed description of the main activities within each segment.

  • Film and Series Production: Developing compelling narratives, securing funding, managing production logistics, directing performances, capturing high-quality visuals and audio, and refining the final product in post-production. A growing focus is on producing original content directly for streaming platforms.
  • Music Production: Crafting musical compositions, arranging instrumental and vocal parts, recording performances with high fidelity, mixing tracks to achieve a balanced sound, and mastering for optimal playback across various devices.
  • Podcast and Audio Content Production: Researching topics, scripting episodes, conducting interviews, recording clear audio, editing content for flow and clarity, and adding music or sound effects.
  • Live Content Production: Planning multi-camera setups, coordinating live feeds, managing technical equipment for simultaneous capture and encoding, and ensuring seamless transitions during the live broadcast.

• List examples of key players with detailed profiles.

  • Globo Studios: The production arm of Grupo Globo, a major Brazilian media conglomerate. Produces a vast amount of content, including telenovelas, series, and films, primarily for its own platforms like Globoplay, but also for licensing. Known for high production values and deep cultural relevance in Brazil.
  • Netflix (as a commissioner/producer): While a distribution platform, Netflix heavily invests in and commissions original Brazilian content across various genres, working with local production companies. This includes popular series and films like "Sintonia" and "Cidade Invisível."
  • Conspiração Filmes: A prominent independent Brazilian production company with a long history of producing films, series, documentaries, and advertising content. Works with various distributors and platforms.
  • Floresta Produções: Another significant Brazilian production company, known for reality shows, series, and formats. Has partnered with various international players.

Content Aggregation and Rights Management This step involves selecting, organizing, and managing the rights for content to be offered on a streaming platform. It includes licensing content from third-party producers and distributors, acquiring rights for original productions, and ensuring compliance with copyright and distribution agreements.

• Identification and description of segments for each step of the value chain.

  • Content Licensing and Acquisition: Activities related to negotiating and securing the rights to distribute films, series, music, and other content from studios, labels, and independent creators.
  • Content Curation and Packaging: Selecting and organizing content to create appealing catalogs and bundles for different user segments or subscription tiers. This includes creating playlists, recommending content, and structuring the platform's library.
  • Rights Management and Royalties: Managing the intellectual property rights associated with the content, tracking usage, and calculating and distributing royalties to rights holders (producers, artists, songwriters, etc.).

• List of types of players in each segment

  • Content Licensing and Acquisition: Streaming platforms (their content acquisition teams), content distributors, sales agents, rights holders (studios, labels).
  • Content Curation and Packaging: Streaming platforms (their content and programming teams).
  • Rights Management and Royalties: Streaming platforms, rights management organizations, collecting societies.

• Detailed description of the main activities within each segment.

  • Content Licensing and Acquisition: Identifying desirable content, negotiating licensing fees, defining exclusivity periods, and drafting legal agreements. This is a competitive area with platforms vying for popular titles and libraries.
  • Content Curation and Packaging: Analyzing user data and market trends to select content, categorizing and tagging content for easy discovery, creating promotional materials, and bundling content into different subscription plans or thematic collections.
  • Rights Management and Royalties: Maintaining a database of content rights, monitoring content consumption on the platform, calculating owed royalties based on complex agreements, and distributing payments to the relevant parties.

• List examples of key players with detailed profiles.

  • Major International Studios (e.g., Warner Bros. Discovery, Disney, Sony Pictures): These companies own vast content libraries and license their films and series to various platforms, or use them for their own streaming services (Max, Disney+).
  • Brazilian Distributors (e.g., O2 Play, Media Mundus): Companies specializing in acquiring distribution rights for Brazilian and international content and licensing it to various platforms, including streamers.
  • Streaming Platforms (e.g., Netflix, Prime Video, Globoplay): These platforms have dedicated teams responsible for acquiring and curating the content available on their services.

Platform Development and Technology Infrastructure This step involves building, deploying, and maintaining the technological systems that enable streaming. This includes the software applications users interact with, the servers that store content, and the networks that deliver it efficiently.

• Identification and description of segments for each step of the value chain.

  • Software Development: Designing, coding, and maintaining the streaming applications for various devices (smart TVs, mobile phones, web browsers), including user interfaces, recommendation engines, and payment systems.
  • Encoding and Transcoding: Converting video and audio files into various formats and bitrates to ensure compatibility and optimal streaming quality across different devices and network conditions.
  • Content Delivery Networks (CDNs): Utilizing distributed server networks to store copies of content closer to users, reducing latency and buffering during playback.
  • Cloud Infrastructure and Hosting: Using cloud computing services for storing vast content libraries, managing user data, and running the backend operations of the streaming platform.
  • Data Analytics and Personalization: Developing systems to collect and analyze user data to understand viewing habits, personalize content recommendations, and optimize the user experience.

• List of types of players in each segment

  • Software Development: In-house development teams of streaming platforms, third-party software development companies.
  • Encoding and Transcoding: Software providers specializing in media processing, in-house technical teams.
  • Content Delivery Networks (CDNs): CDN providers (e.g., Akamai, Cloudflare), major tech companies with their own CDN infrastructure.
  • Cloud Infrastructure and Hosting: Cloud service providers (e.g., AWS, Google Cloud, Microsoft Azure).
  • Data Analytics and Personalization: Data science teams of streaming platforms, third-party analytics providers.

• Detailed description of the main activities within each segment.

  • Software Development: Creating intuitive and responsive user interfaces, implementing search and discovery features, integrating payment gateways, and ensuring security and accessibility across different platforms.
  • Encoding and Transcoding: Processing raw video and audio masters into various compressed formats optimized for streaming over different bandwidths and devices.
  • Content Delivery Networks (CDNs): Strategically placing servers globally and regionally (including within Brazil) to cache content and deliver it quickly to users based on their geographic location.
  • Cloud Infrastructure and Hosting: Storing petabytes of video and audio files, managing user accounts and profiles, processing payments, and handling large volumes of concurrent user requests.
  • Data Analytics and Personalization: Tracking user viewing history, analyzing content popularity, developing algorithms for personalized recommendations, and using data to inform content acquisition and production decisions.

• List examples of key players with detailed profiles.

  • Netflix Technology Teams: Netflix is renowned for its sophisticated technology infrastructure, including its own CDN (Open Connect) and advanced data analytics capabilities, which are crucial for delivering a seamless streaming experience globally and in Brazil.
  • Amazon Web Services (AWS): A leading cloud computing provider used by many streaming services to host their content and power their platforms.
  • Google Cloud Platform (GCP): Another major cloud provider offering infrastructure and services utilized by streaming companies.
  • Akamai: A prominent global CDN provider that helps optimize content delivery for streaming platforms in various regions, including Brazil.

Distribution and Delivery This step focuses on getting the streaming content from the platform's servers to the user's device. This relies heavily on internet infrastructure and network capabilities.

• Identification and description of segments for each step of the value chain.

  • Internet Service Providers (ISPs): Companies that provide internet access to homes and mobile devices, acting as the conduit for streaming data.
  • Content Delivery (Last Mile): The final leg of data transmission from the CDN edge servers or ISP points of presence to the user's specific device.
  • Device Compatibility: Ensuring the streaming service is accessible and functions correctly on a wide range of devices (smart TVs, smartphones, tablets, computers, gaming consoles, streaming sticks).

• List of types of players in each segment

  • Internet Service Providers (ISPs): Major national ISPs (e.g., Claro, Vivo, TIM) and numerous regional and local providers.
  • Content Delivery (Last Mile): ISPs.
  • Device Compatibility: Device manufacturers (Samsung, LG, Apple, Google, etc.), streaming platform developers.

• Detailed description of the main activities within each segment.

  • Internet Service Providers (ISPs): Building and maintaining network infrastructure (especially fiber optic networks in Brazil), managing bandwidth, and ensuring reliable internet connectivity for their subscribers.
  • Content Delivery (Last Mile): Efficiently routing data packets from the nearest server to the user's device, managing network congestion, and ensuring sufficient bandwidth for high-quality streaming.
  • Device Compatibility: Developing and updating applications for various operating systems and device types, optimizing playback performance on different hardware, and ensuring a consistent user experience across the ecosystem.

• List examples of key players with detailed profiles.

  • Claro, Vivo, TIM: Major telecommunications companies in Brazil that provide internet services crucial for streaming consumption. Their investment in infrastructure, particularly fiber optics, directly impacts the quality and accessibility of streaming for a large portion of the population.
  • Regional ISPs: A significant number of smaller, local internet providers that serve specific geographic areas, contributing to internet access in regions not fully covered by major players.
  • Roku: A company that manufactures streaming devices and operates a platform that aggregates various streaming services, including FAST channels, facilitating access to content on TVs.

Monetization and Marketing This step involves generating revenue from the streaming service and promoting it to attract and retain users. Business models vary, and marketing is crucial in a competitive landscape.

• Identification and description of segments for each step of the value chain.

  • Subscription Video On Demand (SVOD): Offering unlimited access to a content library for a recurring subscription fee (e.g., Netflix, Prime Video, Disney+).
  • Advertising-Supported Video On Demand (AVOD): Providing free access to content with revenue generated through advertisements (e.g., YouTube, some tiers on Netflix and Max).
  • Transactional Video On Demand (TVOD): Allowing users to rent or purchase content on a pay-per-view basis (e.g., استئجار أو شراء من Amazon Prime Video, Google Play Filmes).
  • Bundling and Partnerships: Offering streaming services as part of bundles with other services (e.g., internet plans, mobile plans, e-commerce benefits like Amazon Prime).
  • Marketing and Promotion: Activities aimed at increasing brand awareness, attracting new subscribers, and engaging existing users through advertising campaigns, social media, content highlights, and partnerships.

• List of types of players in each segment

  • SVOD/AVOD/TVOD Providers: Streaming platforms (Netflix, Amazon Prime Video, Disney+, Max, Globoplay, etc.).
  • Bundling Partners: Telecommunication companies, e-commerce platforms, other service providers.
  • Marketing and Promotion: Streaming platforms' marketing teams, advertising agencies, media companies.

• Detailed description of the main activities within each segment.

  • SVOD: Managing subscription plans and pricing, handling recurring billing, and focusing on retaining subscribers by offering fresh and appealing content.
  • AVOD: Selling advertising space within the content, managing ad delivery and targeting, and balancing ad load with user experience.
  • TVOD: Licensing content for rental or purchase, setting pricing for individual titles, and managing the transactional process.
  • Bundling and Partnerships: Forming strategic alliances with other companies to offer combined service packages that add value for customers and expand the streaming service's reach.
  • Marketing and Promotion: Developing creative advertising campaigns across various media (including significant investment in traditional TV in Brazil), utilizing social media to build community and buzz, issuing press releases, and creating trailers and promotional content.

• List examples of key players with detailed profiles.

  • Netflix: A global SVOD giant with a strong presence in Brazil, known for its data-driven approach to content and marketing. Recently introduced an ad-supported tier.
  • Amazon Prime Video: Bundled with the Amazon Prime subscription, offering a mix of licensed and original content. Benefits from Amazon's large customer base in Brazil.
  • Globoplay: The streaming platform of Grupo Globo, leveraging its vast library of Brazilian content (telenovelas, series, news) and brand recognition. Offers a mix of SVOD and content accessible through Globo's linear channels.
  • Max (formerly HBO Max): Offers premium content from HBO, Warner Bros., and Discovery. Also introduced an ad-supported plan in Brazil.

Customer Access and Consumption This is the end-user interaction with the streaming service. It involves accessing the platform, discovering content, and consuming it on their preferred devices.

• Identification and description of segments for each step of the value chain.

  • Device Usage: Accessing streaming services through various devices like smartphones, tablets, smart TVs, computers, and gaming consoles.
  • User Interface Interaction: Navigating the platform's interface, searching for content, browsing categories, and managing profiles and watchlists.
  • Content Playback: Streaming video or audio content, utilizing playback controls (play, pause, rewind, fast forward), and adjusting settings like quality and subtitles.
  • User Behavior and Habits: Patterns of content consumption, including binge-watching, watching on-the-go, and sharing accounts (though platforms are increasingly cracking down on this).

• List of types of players in each segment

  • Consumers/Subscribers: The individuals and households who use streaming services.
  • Device Manufacturers: Companies producing the hardware used for streaming.
  • Platform Developers: Designing the user experience.

• Detailed description of the main activities within each segment.

  • Device Usage: Downloading and installing streaming apps, connecting devices to the internet, and utilizing device-specific features (e.g., casting to a smart TV).
  • User Interface Interaction: Creating user profiles, searching for specific titles, exploring curated lists and recommendations, and managing subscription settings.
  • Content Playback: Initiating the streaming of a chosen title, controlling the playback flow, and customizing the viewing/listening experience.
  • User Behavior and Habits: Engaging in activities like watching multiple episodes of a series back-to-back (binge-watching), using the service on various devices throughout the day, and in some cases, sharing account credentials with others.

• List examples of key players with detailed profiles.

  • Brazilian Consumers: The diverse population of Brazil, with varying internet access, device ownership, and content preferences. Their adoption of streaming has been rapid, leading to a significant market size.
  • Manufacturers of Smart TVs and Mobile Devices (e.g., Samsung, LG, Apple): These companies produce the primary devices used by Brazilians to access streaming content.

Regulation and Legal Frameworks This step involves the governmental and legal structures that influence how the streaming industry operates in Brazil, including taxation, content quotas, and intellectual property laws.

• Identification and description of segments for each step of the value chain.

  • Legislation and Policy Making: The process of creating and updating laws and policies that apply to streaming services, often involving Congress and relevant ministries.
  • Regulatory Bodies: Government agencies responsible for overseeing and enforcing regulations in the telecommunications and audiovisual sectors.
  • Taxation and Contribution: Rules regarding the taxation of revenue generated by streaming services and potential mandatory contributions to foster local content production.
  • Content Quotas and Promotion of National Content: Requirements for streaming platforms to include a minimum percentage of Brazilian content in their catalogs and promote it.
  • Intellectual Property and Copyright Enforcement: Laws and mechanisms for protecting copyrights and combating content piracy.

• List of types of players in each segment

  • Legislation and Policy Making: Federal Government (Ministries), National Congress (Chamber of Deputies and Federal Senate).
  • Regulatory Bodies: Ancine (Agência Nacional do Cinema), Anatel (Agência Nacional de Telecomunicações).
  • Taxation and Contribution: Federal Revenue Service, Ancine, Ministry of Culture.
  • Content Quotas and Promotion of National Content: Ancine, Ministry of Culture, National Congress.
  • Intellectual Property and Copyright Enforcement: Government bodies, courts, industry associations, rights holders.

• Detailed description of the main activities within each segment.

  • Legislation and Policy Making: Debating and approving bills related to streaming regulation, defining legal frameworks for the sector, and adapting existing laws to the digital environment.
  • Regulatory Bodies: Implementing and enforcing regulations, monitoring compliance by streaming platforms, and potentially mediating disputes. Ancine, for example, has historically regulated the audiovisual market, including aspects now relevant to streaming.
  • Taxation and Contribution: Establishing tax rates and contribution mechanisms (like the Condecine) for streaming services, collecting funds, and potentially directing them towards the local audiovisual industry.
  • Content Quotas and Promotion of National Content: Defining minimum percentages for Brazilian content (including independent productions), establishing discoverability requirements on platforms, and creating incentives for local production.
  • Intellectual Property and Copyright Enforcement: Prosecuting piracy, implementing measures to protect digital content, and upholding the rights of creators and rights holders.

• List examples of key players with detailed profiles.

  • National Congress (Chamber of Deputies and Federal Senate): Currently debating several bills (PL 8889/2017 and PL 2331/2022) aimed at regulating the streaming market, particularly concerning taxation and content quotas.
  • Ancine (Agência Nacional do Cinema): The Brazilian agency responsible for regulating the audiovisual market. Expected to play a key role in implementing and enforcing streaming regulations once approved.
  • Ministry of Culture (MinC): Involved in discussions around promoting Brazilian content and potentially launching its own streaming platform for national productions.

Show estimates of volumes and sizes of each step in the value chain.

Providing precise volume and size estimates for each step of the value chain with distinct financial figures for Brazil is challenging based on the available data, as many reports focus on the overall market size and platform-level metrics. However, we can infer sizes and volumes for certain steps:

• Content Production: While a total financial volume for all streaming content production in Brazil isn't explicitly stated per step, the audiovisual sector as a whole represented approximately 0.46% of Brazil's GDP in 2022. Major players like Netflix have invested significantly in local production, with plans announced for numerous projects in Brazil. The proposed mandatory investment in national content by streaming platforms (ranging from debated percentages of 4% to 12% of gross revenue) indicates a potential significant financial volume directed towards this step through regulation. The music streaming market alone generated R$ 3.05 billion in revenue in Brazil in 2024, indicating substantial activity in music content production and licensing for streaming.

• Content Aggregation and Rights Management: This step's size is embedded within the revenues of the platforms and distributors. The value here is in the volume and quality of the content library aggregated and the value of the rights managed. Brazil has a large offering of audiovisual content, with 137 streaming platforms offering over 139,000 films and over 32,000 series as of 2022.

• Platform Development & Technology Infrastructure: Investment in this area is reflected in the global spending of streaming companies and the infrastructure development by cloud providers and CDNs in Brazil. ISPs are also increasing investments in infrastructure (like fiber optics) to support the growing demand for streaming. Total investments in telecom and IT in Brazil were expected to exceed R$ 80 billion in 2023, a portion of which supports streaming delivery.

• Distribution and Delivery: The volume here relates to the sheer amount of data transferred. The increase in fiber optic penetration in Brazil is a key indicator of the growing capacity for high-quality streaming distribution. The fact that streaming reached 20.1% of total audience in Brazil in December 2024 highlights the significant volume of content being delivered.

• Monetization and Marketing: This is where the primary revenue is generated. The global streaming market is expected to reach US$ 14 billion by 2027. In Brazil, the music streaming market alone had revenues of R$ 3.05 billion in 2024. While overall revenue for video streaming is not as precisely detailed in the sources per year, the market is substantial, with major players reporting significant subscriber numbers and revenue globally. Netflix alone surpassed 25 million customers in Brazil in Q3 2024, with 12 million on the ad-supported plan, generating significant monthly revenue from this tier alone. The estimated investment in advertising on open TV by streaming platforms in 2024 was R$ 2 billion.

• Customer Access and Consumption: This step is measured by the number of users and time spent consuming content. Around 31.1 million individuals in Brazil accessed paid platforms in 2022. In December 2024, streaming accounted for 20.1% of the total audience in Brazil. Brazilians subscribe to an average of 4.2 streaming services. Around 70% of the Brazilian population has at least one streaming subscription.

• Regulation and Legal Frameworks: The size here is not measured in monetary volume of activities but in the impact of regulations on the market. The potential collection from a Condecine for VoD is estimated to be significant, with proposed rates ranging from 3% to 12% of gross revenue.

Value Chain Summary Table

Value Chain Step	Main Activities	Segments	Types of Players	Examples of Main Players	Volumes and Sizes (Estimates - Brazil)
Content Production	Creation of audiovisual and audio content.	Film/Series, Music, Podcast/Audio, Live Content	Production Companies, Studios, Labels, Artists, Writers, Directors, Crews	Globo Studios, Netflix (commissioner), Conspiração Filmes, Floresta Produções	Audiovisual sector ~0.46% of GDP (2022). Music streaming revenue R$ 3.05 billion (2024). Significant investment in local production by major players.
Content Aggregation and Rights Management	Acquiring, licensing, and curating content; managing rights and royalties.	Licensing/Acquisition, Curation/Packaging, Rights Management/Royalties	Streaming Platforms, Distributors, Sales Agents, Rights Holders, Collecting Societies	Major International Studios, Brazilian Distributors (O2 Play, Media Mundus), Streaming Platforms	137 platforms with >139k films and >32k series (2022). Value embedded in platform revenues.
Platform Development & Technology Infra	Building and maintaining streaming infrastructure, software, CDNs, data analytics.	Software Development, Encoding/Transcoding, CDNs, Cloud/Hosting, Data Analytics	In-house teams, Software Providers, CDN Providers, Cloud Providers	Netflix Technology, AWS, GCP, Akamai	Supported by R$ 80+ billion IT/Telecom investment (2023 estimate). Relates to network capacity (fiber optic expansion).
Distribution and Delivery	Transmitting content to end-user devices over internet networks.	ISPs, Content Delivery (Last Mile), Device Compatibility	National & Regional ISPs, Device Manufacturers	Claro, Vivo, TIM, Regional ISPs, Samsung, LG	Streaming audience share 20.1% (Dec 2024). Relies on growing internet infrastructure (fiber optics).
Monetization and Marketing	Generating revenue (SVOD, AVOD, TVOD, Bundles); promoting services.	SVOD, AVOD, TVOD, Bundling/Partnerships, Marketing/Promotion	Streaming Platforms, Bundling Partners, Marketing Agencies	Netflix, Amazon Prime Video, Globoplay, Max	Music streaming revenue R$ 3.05 billion (2024). Netflix Brazil >25 million customers (Q3 2024). R$ 2 billion+ invested in TV advertising (2024).
Customer Access and Consumption	Users accessing and consuming content on various devices.	Device Usage, UI Interaction, Content Playback, User Behavior	Consumers/Subscribers, Device Manufacturers	Brazilian Consumers, Manufacturers of Smart TVs/Mobile Devices	~31.1 million individuals accessing paid platforms (2022). ~70% of population subscribes to streaming. Avg. 4.2 services per user.
Regulation and Legal Frameworks	Laws, policies, and regulatory bodies governing the industry.	Legislation/Policy, Regulatory Bodies, Taxation/Contribution, Content Quotas, IP/Copyright	Government (Congress, Ministries), Ancine, Anatel, Industry Associations	National Congress, Ancine, Ministry of Culture	Impact measured by policy implementation (e.g., potential Condecine collection).

Examples of Main Players

Content Production: Globo Studios Globo Studios is the production powerhouse of Grupo Globo, the largest media group in Brazil. It is responsible for the creation of a vast amount of content, including internationally acclaimed telenovelas, hit series, and feature films. With a long history and deep understanding of Brazilian culture, Globo Studios has state-of-the-art facilities and employs a large pool of creative and technical talent. While historically focused on production for free-to-air television, Globo Studios is increasingly producing exclusive content for Globoplay, their streaming service, and also licensing content to other platforms, both domestically and internationally. Their productions often feature high production values and resonate strongly with the Brazilian audience.

Content Aggregation and Rights Management: O2 Play O2 Play is a Brazilian content distributor and sales agent that plays a key role in the aggregation step of the value chain. As part of the O2 Filmes group, founded by renowned filmmakers, O2 Play focuses on distributing Brazilian and international films and series across various platforms, including cinemas, TV channels, and importantly, streaming services. They license content to a wide range of platforms, utilizing different business models like TVOD, SVOD, AVOD, and FVOD. O2 Play acts as an intermediary, connecting content creators and rights holders with streaming platforms, helping to make diverse content available to the Brazilian streaming audience.

Platform Development & Technology Infrastructure: Netflix Technology Teams While Netflix is a global company, its technological infrastructure is a critical component enabling its dominant position in the Brazilian market. Netflix has invested heavily in its streaming technology, including developing its own global Content Delivery Network (CDN), Open Connect, which helps deliver video content efficiently and with high quality to users in Brazil by placing servers closer to internet exchange points. Their sophisticated software development teams create and maintain the user-friendly applications across numerous devices. Furthermore, their advanced data analytics capabilities are crucial for understanding Brazilian viewing patterns, personalizing recommendations, and optimizing the technical delivery of content, contributing significantly to their user experience and retention in the country.

Distribution and Delivery: Claro Claro is one of the largest telecommunications operators in Brazil, providing internet services (broadband and mobile) to millions of households and individuals. As a major Internet Service Provider (ISP), Claro is a fundamental part of the streaming value chain, responsible for the "last mile" delivery of streaming data to the end-user's home or device. The quality and availability of Claro's network infrastructure, particularly its expanding fiber optic network, directly impact the ability of Brazilians to access and consume streaming content reliably and in high definition. While also offering its own video services (Claro tv+), Claro's primary role in the streaming ecosystem is as a crucial enabler of content delivery for all platforms that rely on internet connectivity.

Monetization and Marketing: Globoplay Globoplay, the streaming service from Grupo Globo, is a prime example of a player excelling in monetization and marketing within the Brazilian context. Leveraging the immense brand recognition and marketing power of TV Globo, Globoplay effectively promotes its service and content to a massive potential audience. It employs a hybrid monetization strategy, offering both SVOD plans with a vast library of Globo's historical and current productions (including early access to telenovelas and exclusive series) and a free tier with advertising. They also bundle their service with other offerings and channels (like Telecine) to increase perceived value and attract subscribers. Their marketing often highlights popular Brazilian actors and nationally relevant storylines, resonating strongly with the local market.

Customer Access and Consumption: Brazilian Consumers The Brazilian consumer is at the end of the value chain, driving demand and shaping the market through their viewing habits and subscription choices. With a high penetration of internet access and increasing adoption of smart devices, Brazilians have rapidly embraced streaming as a primary form of entertainment. Research shows a significant percentage of the population subscribes to at least one service, and many subscribe to multiple platforms, demonstrating a strong appetite for diverse content. Brazilian consumer behavior, including the popularity of binge-watching and the price sensitivity influencing the adoption of ad-supported tiers, directly impacts the strategies of players throughout the value chain.

Regulation and Legal Frameworks: Ancine (Agência Nacional do Cinema) Ancine is the primary regulatory body for the audiovisual market in Brazil. While established before the rise of streaming, Ancine is positioned to play a crucial role in the future regulation of video-on-demand services. Discussions and proposed legislation aim to empower Ancine to oversee aspects such as mandatory contributions to the National Cinema Development Contribution (Condecine) from streaming platforms' revenues and enforcing quotas for Brazilian content in their catalogs. Ancine's actions and policies are intended to foster the growth of the national audiovisual industry, ensure fair competition, and promote cultural diversity within the booming streaming landscape in Brazil.

Volumes and Sizes

Estimating precise financial volumes for each distinct step of the streaming value chain in Brazil is challenging due to data availability and the integrated nature of some players. However, we can provide key market size indicators:

• Overall Market Size: While a total market value for streaming in Brazil across all segments (video, music, etc.) for 2024/2025 is not consolidated in the provided sources, the music streaming market alone generated R$ 3.05 billion in revenue in 2024. Globally, the streaming market is projected to reach US$ 14 billion by 2027. The video streaming market generated US$ 2.1 billion globally in Q1 2024 from app stores alone.
• Subscriber Numbers: Around 70% of the Brazilian population has at least one streaming subscription. In 2022, approximately 31.1 million individuals accessed paid platforms. Netflix, a single player, surpassed 25 million customers in Brazil in the third quarter of 2024, including 12 million on the ad-supported plan.
• Market Share (Video Streaming - SVOD): Data from Q4 2024/Q1 2024 shows the following approximate market share distribution based on interest/users:
  • Netflix: 25% - 27%
  • Prime Video: 18% - 20%
  • Disney+: 13% - 15%
  • Max (HBO Max): 13% - 14%
  • Globoplay: 11% - 12%
  • Apple TV+: 6% - 7%
  • Star+: 8% - 9% (Note: Star+ content is being integrated into Disney+)
  • Others: 3% - 5% Netflix and Amazon Prime combined held around 45% of the market in Q4 2024.
• Audience Share (Overall Streaming): Streaming services accounted for 20.1% of the total audience in Brazil in December 2024, with YouTube holding a significant portion (12.6%) followed by Netflix (4.6%) and Globoplay (1.1%).
• Advertising Investment: Streaming platforms collectively invested around R$ 2 billion in advertising on open TV in Brazil during 2024, indicating a significant marketing spend.
• Average Subscriptions per User: Brazilians subscribe to an average of 4.2 to 8 streaming services.
• Revenue from Music Streaming: In 2024, streaming accounted for 87.6% of the total revenue in the Brazilian music market, reaching R$ 3.05 billion. SVOD music streaming generated R$ 2.07 billion (68% of music streaming), while ad-supported music streaming generated R$ 479 million (15.7% of music streaming).

These figures highlight the substantial size and continued growth of the streaming market in Brazil, driven by a large user base and increasing revenue streams, particularly from subscriptions and advertising.

References

• Netflix e Amazon Prime dominam 45% do mercado de streaming no Brasil; veja ranking - ISTOÉ DINHEIRO - https://www.istoedinheiro.com.br/netflix-e-amazon-prime-dominam-45-do-mercado-de-streaming-no-brasil-veja-ranking/
• PLATAFORMIZAÇÃO DO MERCADO AUDIOVISUAL: A INDÚSTRIA DE STREAMING DE VÍDEO NO BRASIL - repositorio ipea - https://repositorio.ipea.gov.br/bitstream/11058/11528/1/td_2929.pdf
• Quanto custa assinar todos os streamings em 2025? - Meio e Mensagem - https://www.meioemensagem.com.br/midia/quanto-custa-assinar-todos-os-streamings-em-2025
• Netflix se mantém como a plataforma com maior participação de mercado no Brasil - Tudocelular.com - https://www.tudocelular.com/mercado/noticias/n220061/netflix-lider-mercado-streaming-brasil-marco-2024.html
• Streaming domina música no Brasil com 87% de faturamento, diz relatório - CNN Brasil - https://www.cnnbrasil.com.br/economia/streaming-domina-musica-no-brasil-com-87-de-faturamento-diz-relatorio/
• Streaming alcança 20% de audiência no Brasil, diz jornal - Poder360 - https://www.poder360.com.br/midia/streaming-alcanca-20-de-audiencia-no-brasil-diz-jornal/
• Netflix e Prime Video seguem líderes no mercado de streaming no Brasil, enquanto Max e Disney+ dividem terceiro lugar - Tela Viva - https://telaviva.com.br/05/04/2024/netflix-e-prime-video-seguem-lideres-no-mercado-de-streaming-no-brasil-enquanto-max-e-disney-dividem-terceiro-lugar/
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• Cultura, Inovação e Burocracia: Os Desafios do PL do Streaming - Coletiva.net - https://coletiva.net/noticias/mercado/cultura-inovacao-e-burocracia-os-desafios-do-pl-do-streaming,404876.html
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• PL do streaming tem novo nome e alíquota dobrada - Meio e Mensagem - https://www.meioemensagem.com.br/regulamentacao/pl-do-streaming-tem-novo-nome-e-aliquota-dobrada
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• Desafios e Oportunidades do Setor Audiovisual no Brasil: Plano de Metas do Audiovisual - TELA VIVA News - https://telaviva.com.br/30/09/2024/desafios-e-oportunidades-do-setor-audiovisual-no-brasil-plano-de-metas-do-audiovisual/
• Mercado fonográfico do Brasil fatura R$ 3,4 bilhões e cresce 21,7% em 2024 - VEJA - https://veja.abril.com.br/cultura/mercado-fonografico-do-brasil-fatura-r-34-bilhoes-e-cresce-217-em-2024
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• Setor audiovisual exige investimento de 12% das plataformas de streaming em produção nacional - Cosmo - https://cosmosonline.com.br/setor-audiovisual-exige-investimento-de-12-das-plataformas-de-streaming-em-producao-nacional/
• Watch Brasil investe em tecnologia para impulsionar crescimento do streaming - https://www.showmetech.com.br/watch-brasil-investe-em-tecnologia-para-impulsionar-crescimento-do-streaming/
• EiTV | Tecnologia para Streaming e TV Digital - https://www.eitv.com.br/
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• Entenda a cadeia produtiva do cinema brasileiro - Academia Internacional de Cinema (AIC) - https://www.aic.com.br/blog/producao-de-conteudos-audiovisuais/
• Roku amplia opções de conteúdo no Brasil com a adição de canais FAST - Tudocelular.com - https://www.tudocelular.com/tv-e-cinema/noticias/n238030/roku-guia-tv-ao-vivo-brasil-canais-fast.html
• Box Brazil - Homepage - https://boxbrazil.tv.br/
• O2 Play - https://o2play.com.br/
• Mercado de streamings de vídeo faturou US$ 2,1 bilhões somente no primeiro trimestre de 2024 - Tudocelular.com - https://www.tudocelular.com/mercado/noticias/n222363/mercado-streamings-video-faturamento-primeiro-trimestre-2024.html
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• Tempos de streaming. Implicações na produção audiovisual no Brasil - AVANCA | CINEMA - http://www.avanca.com/portal/temp/avanca%20cinema%202021/AVCINEMA_2021_012.pdf
• Evoluções Tecnológicas de Vídeo no Padrão de TV Brasileiro - SET - https://www.set.com.br/wp-content/uploads/2020/12/Artigo-Evolucoes-Tecnologicas-de-Video-no-Padrao-de-TV-Brasileiro.pdf
• Netflix supera 25 milhões de clientes no Brasil; quase metade está em plano com anúncios - F5 - https://agora.folha.uol.com.br/f5/2025/02/netflix-supera-25-milhoes-de-clientes-no-brasil-quase-metade-esta-em-plano-com-anuncios.shtml
• Netflix ultrapassa 25 milhões de assinantes no Brasil e supera auge da TV paga - Pipoca Moderna - https://pipocamoderna.com.br/2025/02/netflix-ultrapassa-25-milhoes-de-assinantes-no-brasil-e-supera-auge-da-tv-paga/
• Setor Cinematográfico - Cadeia Global de Valor - https://www.ipea.gov.br/sites/default/files/cadeia_global_valor_setor_cinematografico.pdf