Viewers are binge watching and sharing video on multiple devices and social media like never before. New video distribution market entrants are driving this change to a large extent. It’s safe to say change won’t stop.
To remain competitive, not only will video service providers need to offer innovative new features, but they also will have to optimize their cost structure. Can they do that in today’s demanding environment? Can they be both feature rich and low cost?
We think so.
Categories: Video On Demand
More data today showing the ascendance of Netflix into Americans’ lives. Leichtman Research Group’s 15th annual On-Demand TV survey found that 23% of U.S. adults now stream Netflix on a daily basis, nearly quadruple the 6% who did back in 2011. 81% of Netflix users say they watch Netflix on a TV set. And 54% of adults said they have Netflix, vs. 53% having a DVR, the first time the penetration lines have crossed (in 2011, 44% had a DVR and 28% had Netflix).
Topics: Leichtman Research Group
Sling TV has received an enormous amount of attention since being announced last month at CES. Some hyper-enthusiastic observers have heralded Sling TV as a sign that traditional pay-TV is on the verge of crumbling. But, having now spent some time with Sling TV, I think a more accurate assessment of Sling TV is that it is fundamentally an old school linear TV service, modestly freshened up with a new online wrapper. In its current form, Sling TV looks very unlikely to gain much traction.
For anyone who has ever endured seeing the same ad over and over again when watching an on-demand TV program, here's welcome news: ad tech provider BlackArrow has introduced a new audience-based frequency capping feature that enables advertisers to manage the number of times an ad is seen by a unique household, audience segment or device. The feature is part of the newest release of the BlackArrow Advanced Advertising System.
Bright House Networks, the sixth largest cable TV operator in the US, with 2.5 million subscribers, has announced that will use BlackArrow for dynamic video ad insertion (DAI) for on-demand and multi-screen delivery. As viewers continue to embrace both VOD and myriad viewing devices - and operators make more content and TV Everywhere options available - effectively monetizing these streams is becoming more and more essential.
I'm pleased to present the 227th edition of the VideoNuze podcast with my weekly partner Colin Dixon of nScreenMedia.
This week we dig into the Turner-Comcast deal from earlier this week, under which Turner is providing past seasons' and full current season's episodes to some of its most popular programs to Comcast for viewing on VOD and TV Everywhere. As I wrote earlier this week, a key enabler of the deal is Turner's ability to dynamically insert ads in the on-demand streams.
Colin and I agree that, to the extent the deal becomes a template for others, it could have a wide-ranging impact on the ecosystem. To date, Netflix and other OTT providers have been able to aggregate huge libraries of past seasons' episodes, which have fueled binge-viewing.
But as advertising in VOD/TVE grows and improves, it could become the financial foundation for operators to gain far greater content rights. That in turn could change the negotiating balance for content and perceptions of pay-TV operators. Colin and I explain what could be ahead.
Listen in to learn more!
(Note also Colin is hosting a free webinar next Tuesday on Fox Sports Go TVE app. Sign up here.)
Turner Broadcasting will provide Comcast with VOD and TV Everywhere access for some of its most popular programs across all of its cable networks, under a deal announced this morning. A significant aspect of the deal is that it gives Comcast rights not only to past seasons' episodes, but also to all current season episodes - what's known as "stacking rights." The deal is a big win for Comcast and also underscores the emergence of dynamic ad insertion in VOD/TVE streams as an important new revenue driver.
TiVo Research has released data indicating that time-shifting by viewers of 10 broadcast TV primetime programs to between 4-7 days following their initial airing resulted in approximately $88 million in total lost ad revenue by their respective networks (see chart below).
For these 10 programs, TiVo found that the 4-7 day period increased ratings between 4.1% ("American Idol") to 10.9% ("Modern Family"). Because "American Idol" had the highest average number of ads per episode (61), it had the highest level of lost ad revenue in the 4-7 day period for the full season ($14.4 million). Conversely, "The Good Wife," which had an average of 29 ads per episode, but had the second-lowest 4-7 day ratings increase, had the lowest level of lost ad revenue ($3.6 million).
I'm pleased to present the 223rd edition of the VideoNuze podcast with my weekly partner Colin Dixon of nScreenMedia. This week we dig into the strong performance of Comcast's recently concluded 2nd annual "Watchathon" on-demand week and more broadly, how viewing behaviors on linear, on-demand and OTT are becoming intertwined.
Comcast revealed that Watchathon week drove 61 million views and 50 million hours watched, with "Game of Thrones," "The Walking Dead" and "The Good Wife" topping the list of most popular shows. Of note was the increase in live ratings for shows that were available on Watchathon. For example, Game of Thrones' season 4 premiere was up 17% in Comcast homes, "The Mindy Project" was up 83%, "Archer" was up 78%, "Parks and Recreation" was up 49%, etc.
Colin and I discuss how this appears to support the idea that allowing easy catching-up via on-demand can be an effective tactic for networks (and pay-TV operators) to drive audience to live viewing. In fact, in a prior survey Comcast did, it found that 82% of U.S. adults are binge-viewing now, with 55% saying they preferred to do so with current season programs. By enabling both, Comcast seems to be finding a sweet spot.
One other related data point we found interesting was from Rentrak, which said fully 66% of viewing of broadcast primetime programs on demand occurred after the C3 window. By Colin's calculations, that could mean for certain shows, 20% or more of total audience isn't being counted for advertisers today.
Click here to listen to the podcast (18 minutes, 27 seconds)
Verizon Digital Media Services has unveiled research finding that 59% of millennials' video viewing is now done on-demand, with 41% on live TV. Online accounts for 34% of millennials' viewing, with DVR following at 15% and on-demand at 10%. Non-millennials have the opposite viewing pattern, with 59% of their viewing still live TV, next is DVR with 17% with online and on-demand following at 12% each. Verizon found that 64% of millennials said they subscribe to an OTT video source, compared with 33% of non-millennials.
A new report from research firm GfK has found that 56% of U.S. pay-TV subscribers now use VOD or a TV Everywhere offering from their provider, with 41% saying they use OTT subscription streaming services like Netflix, Hulu Plus, and Amazon Prime. However, of those that use both, 44% rated streaming services “better” than VOD, while 27% said they preferred VOD, and 29% said the two are equal. The good news for VOD is that this preference flips for those that use VOD more than once a week, with 43% preferring VOD, 30% OTT streaming and 27% equal.
In addition, for these regular VOD users, 57% said VOD has "excellent" or "very good" content variety compared to 55% for streaming. But those who use VOD less than once a week thought that streaming services were highly superior in content choice - 67% vs. 28%.
There are a lot of wild headlines these days proclaiming the death of TV and the prevalence of cord-cutting. But in a session I moderated at the recent VideoSchmooze event in NYC, Bruce Leichtman and Craig Moffett, two of the top video analysts around, shared their current data, which systematically debunks these mythologies. For anyone interested in what's really happening in the video business today, the session's video is a must-watch.
Bruce and Craig believe that both technology and mainstream media are ginning up these mythologies because they make great headlines. In fact, both cited instances where their data said "x" but the media coverage ended up being "y." All of this underscores how important it is to read media coverage of the industry with a very critical eye.
Binge-viewing is a bona fide phenomenon that's not only changing consumers' TV viewing behaviors, but also creating fissures in the TV industry. Recently, in "For U.S. Cable Operators, Netflix Partnerships Are Fraught With Risk," I outlined how binge-viewing is driving a competitive dynamic over content rights between Netflix and pay-TV operators' VOD and TV Everywhere plans. Adding further detail, this past Friday, Vulture published an excellent article with specific examples of how this battle is brewing.
According to Vulture, FX and Turner are telling studios from which they obtain TV shows that they need rights to stream the full current season of shows (known as "stacking" rights) not just the most recent 3-5 episodes. Part of the networks' rationale is they need to give late-coming viewers an easy path to watch from the beginning of a season, rather than just enabling existing viewers a way to catch up.
Video-on-demand and pay-per-view provider iN DEMAND has chosen software platform Clearleap to help it move to an all IP terrestrial distribution network for multi-screen delivery. Under the deal, Clearleap will handle 4,000 hours of HD and SD movies per month that iN DEMAND distributes to its cable operator affiliates for their transactional, subscription and free VOD offerings.
Clearleap's CEO Braxton Jarratt told me that iN DEMAND will be able to now limit its use of satellite delivery mainly for live events. Clearleap's management platform is layered on top of iN DEMAND's IP infrastructure, giving the company a single user interface to manage all of its content for quick delivery in multiple formats to cable operators. This is critical to support VOD viewing by subscribers on TVs and other connected devices.
(Note: I will NOT disclose anything about last night's series finale, so fans, you're safe to read on without spoilers.)
Last night was the series finale of the hit AMC show "Breaking Bad." I count myself among the millions of super-fans who fell in love with the series from the start and have been loyal ever since. Importantly though, my viewing experience with Breaking Bad distinguished itself from every other TV show I've ever watched: it was the first one where I watched every single episode on-demand and without ads.
In fact, my experiences with Breaking Bad perfectly illustrate so many of the video industry themes I write about on VideoNuze each day that I thought it would be worth sharing some of them and what I learned.
Nielsen released additional data from its Q2 2013 Cross Platform report substantiating the trend toward "binge-viewing." Nielsen found that a whopping 88% of Netflix users and 70% of Hulu Plus users say they watch 3 or more episodes of the same show in one day.
The Nielsen data is directionally in line with survey results that Piksel released last week showing 94% of respondents engage in some type of binge-viewing behavior, either watching episodes together as quickly as possible, watching 1 or 2 every few days, or some combination of the two behaviors.
Though online video has become a hugely popular source of on-demand video for consumers, it's not the only one available. Pay-TV operators have invested heavily in deploying their own on-demand systems through set-top boxes, which have gained strong acceptance. Comcast, for example, now reports 400 million on-demand sessions per month with about 40K TV show episodes and movies available.
However, when it comes to monetization, there's a significant difference between pay-TV VOD and online video. Whereas online video advertising has developed a robust ecosystem that will drive around $4 billion in revenue this year, pay-TV VOD advertising is nascent, as it has suffered from years of underinvestment.
More recently, though, companies like BlackArrow have developed dynamic ad insertion (DAI) capabilities for VOD, which have been deployed to around 30 million homes. In a fascinating discussion at the June 4th Video Ad Summit, Ashley Swartz from Furious Minds led a deep dive discussion of pay-TV VOD DAI and its relationship to both TV and online video with executives from BlackArrow, Comcast and OMD. For anyone trying to better understand these platforms and their monetization potential, the discussion provides great learning and insights.
The video is below and runs 31 minutes, 22 seconds.
Disney's announcement that it was shutting down its Disney Movies Online service on Dec. 31 is another blow for transactional VOD and digital lockers for movies, two corners of the online video ecosystem that are struggling for traction.
Transactional VOD - renting or buying movies online - has become a tougher sell to consumers in the digital age. Not long ago Hollywood studios' home video divisions boomed as many consumers were keen to buy DVDs and create large collections of movies that they prominently displayed. But while DVD sales have gone off the cliff recently, digital rentals and purchases haven't picked up the slack.
Here's a pretty eye-opening update of how pay-TV operators' VOD movies options are faring compared with OTT services like Netflix, Redbox, Amazon and others: just 22% of pay-TV subscribers order at least 1 VOD movie per month, whereas half of them use an OTT service. The data is according to a new study by Digitalsmiths of 2,000 pay-TV subscribers in North America over age 18 and speaks to the business opportunity in on-demand movies that pay-TV operators have left open for OTT competitors.
Categories: Video On Demand