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New "NCAA Vault" is More Evidence of Archived Assets' Value
This year's "March Madness" men's college basketball tournament is just around the corner and in addition to the now-customary live streaming of the games (and this year an iPhone app for additional streaming), a new feature was introduced last week: "NCAA Vault" - a video index to every single moment in "Sweet 16" history for the last 10 years. NCAA Vault is powered by Thought Equity Motion, a technology provider that partners with media companies and rights-holders to digitize, deliver and monetize video assets. Last week I spoke with Thought Equity's CEO and founder Kevin Schaff to learn more about how the Vault works and the background of the deal with the NCAA.
Kevin explained that Thought Equity indexed all 150 of the Sweet 16 games' video with rich metadata for players, teams and highlights. This yielded a searchable database of 6,000 moments, which users of the Vault can tap into in a number of different ways. They can search by player, team, year, game or description of the play they're looking for. For more casual use, the Vault also presents lists clips of great shots, blocks, plays and finishes, plus most outstanding players and current stars. In addition to being a standalone site, the Vault is linked to from the March Madness main site.
When you search for a specific play, it will load and when done, the remainder of the game will continue playing until you want to move on. I can say from doing this several times that watching a play quickly and addictively morphs into watching several minutes of the game itself. Below the video window there's a text description of each play in the game. If you scroll the list and begin clicking on different plays what you'll immediately notice is how fast the new video loads and begins playing. Kevin explained that part of the reason is because the system is simply moving to a new cue point in the existing video file (in other words a new video file hasn't been created). This is a similar technique other indexes use; still, I don't think I've ever seen a new clip load as fast as these do. It's comparable to the experience of changing TV channels.
Thought Equity is very mindful of how, for some users, the Vault will be essentially a "stock video" database and so it has done several things to really enhance its value. Most important, it has created a Publishing Guide, which provides URLs to each of the moments so that writers and fans can search for incorporate links to just the plays they want. Conversely, if you're watching a video highlight and want to link to that moment, one click generates a URL for that clip. Thought Equity has even integrated the bit.ly URL shortener, so that you get a Twitter-friendly URL to use. Finally, Thought Equity has created an API so that 3rd parties who want to integrate the database, or pieces of it, with their own services, can do so easily.
Kevin explained that Thought Equity's model is to partner with media companies and rights-holders to license exclusive rights to their archived assets in order to create rich, searchable video databases. In the Vault's case, monetization is through advertising and CBS will sell the new high-value inventory. Thought Equity has worked with other media partners (e.g. Paramount, HBO, NY Times, BBC, etc.) with a monetization mix of advertising and licensing (i.e. the "stock" model). Over 10.5 million hours have been indexed to date with many more on-deck.
From a user's standpoint, the Vault is another exciting example of how the combination of online video and indexing technologies opens up access to memorable sports moments. Consumer usage creates the ad opportunity, but equally interesting are the myriad professional uses of the video. For bloggers and others running sports-oriented sites, the Vault opens a ton of new upside. Last week I wrote about how MovieClips.com is trying to create a similar Vault-like experience for movie clips; no doubt others will follow as the value of archived assets becomes increasingly apparent.
What do you think? Post a comment now (no sign-in required).Categories: Sports, Technology
Topics: CBS, March Madness, NCAA, Thought Equity Motion
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Interpreting comScore's January 2010 Online Video Usage Decline
comScore released its Jan '10 online video rankings yesterday, and while the numbers were still very strong, they did show declines from Dec '09. For example, in Jan, total monthly views were 32.4 billion, compared with 33.2 billion in Dec '09, a decline of 2.4%. To try to put this blip downward in a little more context see the chart below. I've called out the Dec-Feb period for the past 3 years. In prior years there have been slight to moderate decreases somewhere in this period. This might suggest some seasonality, based on limited historical data.
It's also worth noting that over the course of the last 3 years there have been 7 monthly sequential declines in the total monthly video views. Obviously nothing grows uninterrupted forever, and nobody should expect this from the online video market. Still, when you look at the overall growth curve, there can't be too many other Internet activities that have grown as consistently, with the exceptions maybe of social media (e.g. Twitter, Facebook, etc.).
Elsewhere in the comScore stats, YouTube remained the undisputed 800 pound gorilla for another month, once again maintaining its approximate 40% market share (39.4% in Jan to be exact). According to comScore, YouTube's market share hasn't been below 35% since May '08, when total video views were 12 billion. In other words, even as total views have almost tripled, YouTube has consistently held onto its market share. Pretty amazing.
Hulu also had another strong month, notching 903 million views (its 3rd best month) from 38.4 million unique visitors. Still, the unique visitor count tumbled by 13% from 44.2 million in Dec '09 to 38.4 million in Jan (by comparison YouTube increased from 135.8 million unique visitors in Dec to 136.5 million in Jan). As I mentioned recently, I'm looking for evidence that Hulu can expand its U.S. user base beyond the 35-45 million range it's been in for over a year.
One other point worth noting from the Jan data is that Vevo, the music video aggregation site just launched in Dec '09 broke into the top 10 with 32.3 million unique viewers and 226.1 videos viewed. Vevo's rapid growth is further testament to the popularity of music videos online and the continued importance of short-form.
What do you think? Post a comment now (no sign-in required).
Categories:
Topics: comScore, Hulu, VEVO, YouTube
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Will Nasty Fee Fights Fuel Consumers' Cord-Cutting Interest?
Another weekend, another high-stakes fee fight between a multi-billion dollar media company and a multi-billion dollar cable operator. This time around it was Disney's WABC station in the New York City market in a standoff with Cablevision, which has 3.3 million subscribers there, with the Oscars broadcast the main hostage (WABC, which was pulled late Saturday night, came back on the air at 8:44pm subject to an initial agreement between the companies).
This fight, like recent ones between Time Warner Cable and News Corp, Cablevision and Scripps, plus others, is a no win PR situation for its combatants, and in my mind will lead to one inevitable result - heightened
consumer disgust with the hyper-corporatized TV business, where CEOs who are paid tens of millions of dollars per year accuse each other of not being sufficiently focused on satisfying their customers. Inevitably, consumers' disgust will translate into interest in finding alternatives, particularly those that are cheaper. While the WABC/Cablevision brought out switching enticements from Verizon, the real competition is increasingly going to be "cutting the cord" and getting programming from online-only sources.
Generally I don't believe that there's latent cord-cutting interest waiting to explode (even as monthly subscription fees have grown and the amount paid to cable networks is readily available). The fact is that popular cable programs are so diffused across so many channels - and that most of these programs are not available online (the very issue TV Everywhere aims to address) - that cutting the cord is a practical impossibility in most American homes. Sports alone is the ultimate firewall in a huge percentage of homes. How many sports fans would willingly say goodbye to ESPN, Fox Sports or TNT?
That said, more fee fights, affecting more consumers, are certainly in the
offing. While fee fights in the past have focused on amounts paid for cable networks, future fee fights are more likely to look like the WABC-Cablevision one - squabbles over how much cable operators should pay for broadcast stations. These fights are related to "retransmission consent" payments and reflect a very different dynamic unfolding between broadcast stations and cable operators.
In the past broadcast stations were plenty happy to have cable operators take in their feed directly, and then position the station on a low channel number, enhancing visibility. Now, however, with broadcast economics under extreme pressure, and intense broadcaster envy for cable networks' dual revenue model (monthly fees + advertising), monthly retransmission fee payments are the new normal. Never mentioned in broadcasters payment demands is the fact that they still have government-granted access to free broadcast spectrum which should likely be returned to the government if they want to operate more like cable networks. To the contrary, in fact broadcasters are arguing that government efforts to reclaim the spectrum for higher value mobile data uses are off-base. But that's a subject for another day.
Even as big media companies and cable operators are poised for future skirmishes, the online universe marches on. Convergence devices that bridge broadband to the TV are gaining further traction. And services like Netflix, iTunes, MLB and others are increasing consumers' expectations for what's expected and possible. As I've pointed out before, big media companies and cable operators have a mutually shared interest in defending the current subscription-based model. Nonetheless, how that model's riches are apportioned between the parties is what's being hotly contested. As they do this though, they risk killing the golden goose.
What do you think? Post a comment now (no sign-in required).Categories: Broadcasters, Cable TV Operators
Topics: ABC, Cablevision, Disney
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VideoSchmooze is Coming on April 26th - Save the Date
Be sure to save the date - April 26th - for the next "VideoSchmooze" Broadband Video Leadership Evening. Once again the location is the gorgeous
Hudson Theater in Times Square, NYC and the time is 6-9pm. The evening will include cocktails/networking and a panel discussion I'll moderate. The topic is "Money Talks: Is Online Video Shifting to a Paid Model" in which we'll explore the trends influencing paid options (e.g. TV Everywhere, paid mobile video apps, Netflix, etc.) and how these are balanced against free ad-supported online video. I'm finalizing the panelists and early bird registration will go live soon. Once again, I expect 200-250 industry executives, making VideoSchmooze a premier networking and educational opportunity.
An added bonus of this VideoSchmooze will be a 15 "stage-setting" presentation by Emily Nagle Green, CEO of The Yankee Group, a leading market research firm and former head of Forrester North America. Emily is the author of the just-released book, "Anywhere: How Global Connectivity is Revolutionizing the Way We Do Business." I saw Emily present recently and thought her insights and data are particularly applicable to all of us involved in the digital media business.
Akamai is the lead sponsor of this VideoSchmooze and supporting sponsors include FreeWheel, Horn Group, Irdeto, NeuLion and Panvidea (sponsorship opportunities are still available; please contact me if you're interested). I look forward to seeing you there!Categories: Events
Topics: VideoSchmooze
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Comedy Central Pulls Out of Hulu - Was This Really a Surprise?
This week brought news that Comedy Central was pulling its programs, including its hits "The Daily Show with Jon Stewart" and "The Colbert Report," from Hulu on March 9th. Both had been available on Hulu since the summer of 2008 in what Comedy Central had initially positioned as a test. Both will still be freely available at ComedyCentral.com.
The Daily Show in particular had been enormously popular on Hulu since launch, so in this respect losing it is a setback for Hulu. Still, Comedy
Central's decision should come as a surprise to nobody. As I've been saying since I wrote "The Cable Industry Closes Ranks" in November '08, a bright line is being drawn in the broadband world between programs that consumers currently pay for and those that they don't. The industry is determined make sure the former stay that way and don't leak out onto the free Internet (in this sense, it's actually amazing to me that the Comedy programs are still available for free on its own site, but that's another story).
The free ad-only Hulu model is bumping up against the industry's big TV Everywhere push (another effort to maintain the subscription model) and so it was inevitable that Comedy's programs would get pulled. Hulu could make itself more attractive to networks - and open up new opportunities for itself - if it offered a subscription model. This is something I've suggested for some time, however I'm somewhat skeptical that anything will happen on this front until the Comcast-NBCU deal closes. Comcast would then become an approximately 20% owner of Hulu and will surely want to influence its strategic direction.
What do you think? Post a comment now (no sign-in required).Categories: Aggregators, Cable Networks
Topics: Comedy Central, Hulu
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Magazines are Keen on Video; iPad in Central Role
Following up on my post last week about the Wall Street Journal's new "Digits" video series, in which I reiterated my belief that online video is a huge new opportunity for print publishers, this week brought news of new video initiatives from a number of magazines. As reported by AdAge, Sports Illustrated is launching a new 5 times per day news program called "SI Inside Report," among other video projects. Six new employees have been brought on to support the initiative, which has to be a rare instance of new hiring in the magazine industry.
Elsewhere, Conde Nast is continuing to ramp up for the iPad; as the NY Times reported this week it will offer iPad versions of Wired, GQ, Vanity Fair, The New Yorker and Glamour. Conde plans to experiment with different pricing models and product approaches. But if the demo of Wired's iPad version is any indication, video is certain to play a large role. Wired's Chris Anderson has emerged as the leading magazine industry proponent of the iPad's potential. While the iPad buzz builds leading up to its release, I continue to maintain that unless the price of all models comes down by at least $200 the device is going to remain an early adopter gadget.
What do you think? Post a comment now (no sign-in required).Categories: Devices, Magazines, Newspapers
Topics: Apple, Conde Nast, iPad, Sports Illustrated
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MovieClips.com is Poised to Provide Addictive Fun
With the Oscars coming up on Sunday night (my prediction btw: "Avatar" wins everything) - it was timely to speak earlier this week to MovieClips.com's co-founders Zach James and Richard Raddon. MovieClips.com, which launched in December, just announced that it was taking away its geo-restriction, effectively making its clips available to most of the world. It also released an API so 3rd parties (bloggers and others) can incorporate some of the site's key features.
MovieClips.com is a wonderful example of how online video is unlocking value
in archived assets. As its name implies, the site offers searching and browsing for your favorite movie scenes/quotes. Rich and Zach have been going through the arduous process of signing deals with studios for legitimate rights to index their movies (of course a lot of this already lives illegitimately at social media myriad sites). Their goal is to become the key source of movie clips, supported primarily by ads.
As you would expect from the recently-launched site, clip availability is a still a little hit-or-miss. While Rich and Zach said they believe they have about 65-70% of the most sought after clips, I needled them because I came up empty on my first 3 searches (Terminator 2's "Hasta la vista, baby," The Shawshank Redemption's "Get busy living or get busy dying" and Risky Business's "Who's the U-boat commander?"). I did have better luck on subsequent searches. The company is filled with film buffs and so they have very good insight on what films and studios they need to pursue most aggressively to build out the clip library. A huge part of the site's appeal is the social media opportunities. When you're looking to relive some favorite movie memories, MovieClips.com is going to be very addictive.
What do you think? Post a comment now (no sign-in required).Topics: MOVIECLIPS.com
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VideoNuze Report Podcast #52 - March 5, 2010
Daisy Whitney and I are pleased to present the 52nd edition of the VideoNuze Report podcast, for March 5, 2010.
First up this week I discuss my post from this past Monday, "ABC.com is Now Achieving 'DVR Economics' for Its Programs," in which I described how ABC is now generating roughly the same revenue per program per viewer in online as it is when its programs are watched in DVR playback mode. Albert Cheng, EVP of Digital Media at Disney-ABC had explained to me last week that ABC recently concluded that since online and DVR are both "catch-up" opportunities, it was more appropriate to compare them to each other than to on-air.
Key to this logic is that ABC maintains a release window for its programs, with them being posted on the site 4-6 hours after broadcast. As a result, people who really want to see the program when it's first available still watch on-air (and may in fact re-watch online or via DVR). As long as there's an audience for broadcast, and online doesn't cannibalize it, the logic makes sense to me. Albert also explained that there's further upside in online through increasing the ad load, which is something ABC has experimented with.
Daisy picks up on that point, noting that CBS's Anthony Soohoo told her in an interview for Beet.tv that CBS is considering moving to a full ad load online because the online and on-air experience are converging, which suggests to them that viewers would tolerate more ads. We dig into the interplay between online and DVR usage, which I think is increasingly going to be a key focus for networks in how they choose to monetize online viewing.
Wrapping up, we review what some of the social media "listening" sites that are tracking the Oscar predictions are saying. Daisy appears officially addicted to following the online chatter.
Click here to listen to the podcast (14 minutes, 41 seconds)
Click here for previous podcasts
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