Powered by View TV, the next-generation CTV platform is built around a simple proposition: content creators and studios should be able to reach audiences directly, retain control of their distribution and turn viewership into a sustainable, investable business.
By Jamie Branson | October 2026
Hollywood has spent decades perfecting the business of making television. Yet, for all the billions invested in premium programming, one fundamental question remains unanswered for too many independent studios: how do you turn an audience into a predictable, sustainable return on investment?
Kapang believes the answer lies in redefining the relationship between content, distribution and revenue.
Powered by View TV, Kapang is developing a next-generation, open Connected TV (CTV) platform designed to give television studios and premium content creators something the industry has long promised but rarely delivered at scale: the flexibility to reach audiences directly, combined with the commercial potential traditionally associated with established cable television networks.
Its ambition is straightforward. Bring the openness of digital publishing to the quality and economics of professional television broadcasting, while giving content owners a clearer path from hours viewed to money earned.
And at the heart of that ambition is a compelling commercial target: $100 in revenue per 1,000 hours viewed, equivalent to a $100 RPM on an hourly viewing basis.
For an industry searching for its next sustainable growth model, that proposition could change the conversation around the value of television content.
Breaking the distribution bottleneck
The television industry has never had a shortage of content. It has had a shortage of commercially effective ways for independent creators and studios to reach audiences on their own terms.
Traditional broadcasting can deliver substantial reach and established advertising economics, but access to distribution has historically depended on negotiations, commissioning decisions, carriage agreements and relationships with gatekeepers.
Digital platforms opened the door to a new generation of creators. YouTube demonstrated the extraordinary power of open publishing, global distribution and audience-led discovery. Yet the economics of building a sustainable premium television business through advertising can look very different from those of operating a successful broadcast network.
For professional studios investing in production teams, rights, locations, talent and multi-episode programming, audience growth alone is not enough. They need a credible route to monetisation.
Kapang is being developed to bridge that divide.
The platform’s next-generation approach is intended to let studios bring premium, broadcast-grade content to Connected TV audiences without having to win a traditional carriage negotiation or depend entirely on a third party’s commissioning decision.
The vision combines the publishing flexibility of digital platforms with the scheduling, presentation and advertising opportunities of television networks.
In other words, the ambition is not simply to put more channels on more screens. It is to make those channels commercially meaningful for the people who create the programming.
From hours viewed to a genuine return on investment
The central principle behind View TV’s next-generation approach is that television needs to be measured by its ability to generate revenue, not simply by the number of channels launched, devices reached or viewing hours accumulated.
For a content studio, the commercial equation should be understandable:
Audience × monetisation × viewing time = revenue opportunity.
Under the proposed Kapang model, a $100 RPM target means generating $100 for every 1,000 hours of viewing, equivalent to $0.10 per viewer-hour.
That creates a useful benchmark against which studios can evaluate their content libraries, production costs, audience acquisition and future investment.
Consider a channel generating one million viewing hours per month. At a realised $100 RPM, the resulting revenue would be $100,000 per month, or $1.2 million annually, before production costs, operating expenses and any applicable revenue-sharing arrangements.
For a studio with a substantial catalogue, multiple channels or a growing library of original programming, the opportunity becomes particularly interesting. Content that has already been produced may have the potential to generate recurring advertising revenue across an extended distribution lifecycle.
This is where the distinction between a content asset and a content business becomes important.
A programme is an asset. A library is a portfolio of assets. A well-managed portfolio with measurable audiences, repeatable monetisation and transparent financial reporting can become the foundation of an investable media business.
Kapang’s proposition is to help studios build towards that outcome.
The $100 RPM figure is a target rather than a universal or guaranteed market rate. Actual results will depend on realised advertising demand, fill rates, audience geography, viewing patterns, content suitability and the commercial terms agreed with each content owner. Nevertheless, establishing a clear revenue benchmark gives studios a framework for making better-informed investment decisions.
The opportunity to deliver 20 times the return of YouTube
One of the most ambitious elements of the Kapang proposition is its goal of delivering economics that can reach 20 times those of YouTube for comparable viewing.
The comparison reflects an important strategic distinction: a premium television channel and a creator-led video channel do not necessarily have to operate under the same monetisation assumptions.
Professional CTV broadcasting can combine scheduled programming, premium advertising environments, channel branding, recurring audiences and the potential for direct commercial partnerships. A studio can build a coherent television proposition rather than monetising every piece of content in isolation.
At a $100 RPM, a channel generates ten cents per viewing hour. A hypothetical comparison with a platform returning $5 per 1,000 viewing hours would produce a 20-fold difference in realised revenue per hour viewed.
The important qualification is that this is a comparative commercial objective, not a claim that Kapang currently delivers 20 times the earnings of YouTube across all creators or categories. YouTube’s actual economics vary considerably by format, geography, advertising mix and monetisation eligibility, and any definitive comparison must use like-for-like revenue data.
The larger point, however, is significant: television studios should not have to accept the economics of general-purpose digital video when they are creating professional programming for the television screen.
If Kapang can consistently deliver stronger realised monetisation while providing open access to audiences, it could give content owners a compelling reason to reconsider how and where they distribute their libraries.
Next Generation FAST: moving beyond the channel-count race
The launch of free ad-supported streaming television, widely known as FAST, helped establish a new distribution opportunity for television libraries. Studios could bring linear channels to internet-connected televisions without requiring viewers to pay a conventional subscription.
But the industry’s rapid expansion has also created a new challenge.
More channels do not automatically create more revenue. An expanding catalogue of services competes for finite viewer attention, advertising budgets and prominent placement on connected television platforms.
For content owners, a channel that is available but generates insufficient viewing and advertising income may have little commercial value.
View TV’s Next Generation FAST strategy seeks to shift the focus from distribution volume to sustainable studio economics.
Rather than treating a channel slot as the ultimate objective, the model emphasises the complete relationship between premium content, audience development, revenue generation and technology.
This approach is designed to support professional television presentation, consistent channel identities, advertising-led monetisation and the commercial tools required to manage a channel as a business.
It also recognises that the future of television will not be exclusively advertising-funded or exclusively subscription-funded. Different audiences and content categories can support different business models, and studios should have the flexibility to choose the right combination.
That flexibility is central to Kapang’s open-platform philosophy.
Advertising and subscriptions: bringing two successful models together
Advertising remains a powerful way to make premium content available to large audiences without charging every viewer directly. Subscriptions, meanwhile, allow businesses to build recurring revenue around audiences willing to pay for a particular creator, genre, community or exclusive programming.
The creator economy has demonstrated the potential of direct audience relationships, including subscription-led models associated with platforms such as OnlyFans. The lesson for television studios is not that premium broadcast content should become something else. It is that content owners can benefit from having greater control over how their audiences support their businesses.
View TV’s vision for Kapang includes a supported subscription package alongside advertising-funded viewing.
Under this approach, a studio could potentially use a free, ad-supported channel to build reach and audience awareness, while offering a paid tier for viewers seeking additional programming, exclusive material or a more specialised experience.
The combination offers a route to diversified revenue: advertising can monetise scale, while subscriptions can monetise deeper audience engagement.
For studios, that creates the possibility of building an audience relationship that is not entirely dependent on advertising markets or a single distribution partner.
The precise subscription features, pricing, revenue shares and implementation will determine how successfully this model translates into practice. But the strategic direction is clear: television businesses should be able to develop multiple revenue streams around the same underlying content assets.
Independence without sacrificing professional television
Kapang’s proposition is not about replacing Hollywood’s studios, broadcasters or established production infrastructure. It is about giving content owners more options.
Independent studios should be able to build their own channel identities, develop audiences and explore advertising and subscription revenue without having to surrender their commercial future to a single distributor.
Established studios should be able to find new audiences for existing libraries and experiment with new distribution models.
Emerging producers should have a clearer route from creating premium programming to operating a sustainable television business.
And advertisers should benefit from access to professionally presented content and engaged audiences across the Connected TV environment.
The platform’s open approach is intended to make these opportunities available without turning distribution access into a contest in which content owners must continually negotiate for visibility.
That does not eliminate the need for audience development, quality control, effective scheduling, rights management or commercial sales. Nor does it guarantee that every channel will succeed. No distribution platform can create a profitable business from content that fails to attract viewers or generate sufficient advertiser demand.
What openness can do is remove unnecessary barriers and allow the commercial merits of the content, the strength of the audience proposition and the effectiveness of the monetisation strategy to play a greater role.
For an industry in which the cost of producing premium content remains substantial, that is an important shift.
A more investable future for television
The investment implications extend beyond the revenue generated by an individual programme.
A studio that can demonstrate consistent viewing hours, transparent revenue reporting, repeatable audience acquisition and predictable monetisation has a stronger basis for planning its next production.
Instead of evaluating a new series solely on the possibility of securing a commissioning deal, a studio could assess its existing audience, its library’s earning potential and the economics of expanding its programming slate.
Investors, in turn, can begin to examine content businesses through a more structured commercial framework.
How much does it cost to produce a programme? How many hours does it generate? What revenue does each hour produce? How long can the content continue to earn? What proportion of revenue reaches the rights holder? And how much additional capital is required to grow the audience?
These questions turn content monetisation into a measurable operating discipline.
Kapang and View TV are positioning their next-generation model around precisely this relationship between content, audiences, revenue and technology.
The objective is to create a more direct connection between the value a studio produces and the financial return it receives.
For content owners, that could mean a better way to finance future productions, extend the life of existing libraries and build businesses with measurable commercial potential.
For investors, it offers a framework for assessing media assets on the basis of audience performance and realised revenue rather than relying solely on speculative valuations of intellectual property.
The distinction matters. A high viewing figure is not, by itself, proof of a sustainable business. A repeatable system that converts viewing into revenue, while controlling costs and protecting the rights holder’s interests, is a much stronger proposition.
The next chapter of Hollywood
Television has evolved from terrestrial broadcasting to cable, satellite, streaming and Connected TV. Each generation has expanded the ways in which audiences discover and consume content.
The next stage may be defined by something more fundamental: who controls the relationship between content, audiences and revenue.
Kapang, powered by View TV, is setting out to build a platform in which studios have greater flexibility over distribution, advertising-funded viewing becomes a measurable source of return and subscriptions provide another route to sustainable monetisation.
Its $100 RPM ambition captures the commercial philosophy behind that vision. The objective is not simply to generate more viewing, but to make each hour of viewing work harder for the people who invested in creating the content.
If the model can demonstrate its proposed economics at scale, it could offer a new way for independent studios to compete, for established libraries to generate continuing value and for premium television to attract investment beyond the traditional commissioning system.
Hollywood does not need to abandon the strengths of its existing business. It needs to make those strengths work in a more open, measurable and commercially sustainable environment.
The future of television will belong to the businesses that can bring great content to the right audiences and turn that attention into lasting value. Kapang’s ambition is to make that future more accessible, more independent and more investable for the studios creating the next generation of television.
Kapang is a next-generation CTV platform powered by View TV. Revenue targets and illustrative financial scenarios in this article are forward-looking commercial propositions, not guarantees of performance or independently verified comparative results.