Posts for 'SVOD'

I'm pleased to present the 330th edition of the VideoNuze podcast with my weekly partner Colin Dixon of nScreenMedia.

Colin and I were both very enthusiastic about news earlier this week that Comcast will integrate Netflix into its X1 set-top box, a move we’ve been advocating for a while. In this week’s podcast we discuss how complicated this negotiation must have been, and why joint subscribers will be the big winners.

Surely a motivating factor for Comcast was the acknowledgment that viewers are spending more time on SVOD, which new research from IBM Cloud Video highlighted this week.

More specifically, the research showed how important video has become for Amazon Prime members, with 75% of them now watching. By not charging for video in Prime, Amazon is potentially a big disruptor in the video/TV industry down the road.

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Three-quarters of Amazon Prime members are watching the service’s video offerings, according to new survey data released by IBM Cloud Video. 61% of Prime members surveyed said they signed up for the service for the shopping benefits, but also watch the video, while another 14% said they signed up specifically for the video. Just 7% of members surveyed said they didn’t know about the video offerings, with another 18% saying they were aware, but didn’t watch.

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Yesterday, Recode reported that Comcast will integrate Netflix into its X1 set-top box. Loyal VideoNuze readers know that I’ve been advocating for this type of partnership for almost two years, back to when I articulated the benefits in “Why the Timing is Now Perfect for a Netflix-Comcast Partner Deal” in October, 2014. There are lots of benefits to Comcast and Netflix by partnering (as I’ll further explain below), but the biggest winners once the integration is complete later this year, are the companies’ mutual viewers.

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I'm pleased to present the 327th edition of the VideoNuze podcast with my weekly partner Colin Dixon of nScreenMedia.

This week, Ellation, which is backed by Otter Media, itself a joint venture of The Chernin Group and AT&T, announced a new SVOD service called VRV (pronounced “Verve”). VRV is targeted mainly to the gamer/geek audience with a mix of anime, animation, gaming, comedy, fantasy and technology content.

While VRV has multiple content partners already signed up to participate, Crunchyroll, the anime SVOD service in which Otter Media holds a majority stake, is clearly the anchor tenant of VRV. Crunchyroll is perhaps the most successful niche SVOD service, with approximately 750K paying subscribers, plus a larger free ad-supported audience.

To learn more about VRV, Colin was briefed by Ellation’s head of marketing and distribution Arlen Marmel and I was briefed by CEO Tom Pickett. Colin is very enthusiastic about how VRV will leverage Crunchyroll and believes VRV’s freemium approach will find success with its target audience. While I like VRV’s parallels to Amazon’s Streaming Partners Program, I’m more cautious in my outlook, mainly because it’s not quite clear to me how VRV’s pricing/value proposition for a la carte channels vs. its bundle offer will work until VRV launches later this year.

Stepping back, VRV represents further innovation in business models and user experiences for video services and is part of a broader trend toward SVOD curation/aggregation that we envision gaining momentum.

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New research from GfK shows that SVOD services may be hitting subscribers’ limit on willingness to pay, in turn crimping the potential for future rate increases. GfK found the average willingness to pay was $10.82/month for Netflix, $9.10/month for Amazon, $9.96/month for Hulu ad-free and $5.01 for Hulu ad-supported.

Adding to the pricing pressure, GfK also found that cost was the most important attribute in picking an SVOD service, cited by 75% of respondents. The second most cited attribute was “availability of specific programs” (69%) followed by “availability of new movies” (68%).

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I'm pleased to present the 324th edition of the VideoNuze podcast with my weekly partner Colin Dixon of nScreenMedia.

Earlier this week provided a synopsis of a fascinating article in Vulture describing the massive changes that big SVOD providers have brought to the TV production business. The most startling statistic is that the number of scripted TV shows has soared from 36 in 2005 to over 400 in 2015.

In today’s podcast we discuss the consequences of this explosion and speculate on whether all of this is sustainable, or whether a bubble has been created, and if so, what might cause it to burst. Colin is more optimistic that current production volumes can continue, while I’m more skeptical simply because SVOD business models are still in flux.

Another dimension to the value of more TV shows is how important both stacking rights for current seasons and access to back catalogs are becoming for the existing ecosystem. With VOD, binge-viewing and time-shifting all on the rise, there appears to be an emerging consensus on broader availability of TV shows. We explore all of this as well.

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Yesterday research firm Strategy Analytics released a forecast showing growth in domestic SVOD spending will slow slightly in 2016 vs. 2015 and then drop by almost 50% in 2021, to just 8% year-over-year. The 2016 slowdown is nominal - a $1.19 billion increase vs. a $1.21 billion increase in 2015, which could be easily tweaked by minor changes to churn rates, as just one example. Domestic SVOD spending in 2016 will be $6.62 billion, still an increase of 22% year-over-year, a growth rather most industries would happily take.

The key takeaway shouldn’t be the current year forecast, but rather what’s expected over the next 5 years, to 2021. Strategy Analytics Digital Media Director Michael Goodman said that the spending forecast was modeled assuming an 85% saturation rate of broadband households in 2021, comparable to pay-TV’s current adoption (60% of households currently subscribe to one or more SVOD services), with Netflix alone accounting for 53% of subscriptions.

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For those interested in a deep-dive look inside how dramatically the business of making TV shows has changed over the past several years, last week’s Vulture cover story, “The Business of Too Much TV,” is essential reading. At 10,000+ words, you’ll need to set aside a chunk of time to get through it, but it’s well worth it for a peek behind the curtain of how SVOD has influenced every aspect of TV production.

The biggest driver of change has been the massive increase in the number of scripted TV shows being made - from 36 in 2005 to over 400 in 2015. Cable TV networks were the initial cause of this explosion, but in the past several years it’s been the major SVOD services, Netflix, Amazon and Hulu, which have each turned to originals as a source of differentiation as competition has intensified.

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I'm pleased to present the 322nd edition of the VideoNuze podcast with my weekly partner Colin Dixon of nScreenMedia.

This week’s announcement by Amazon of “Amazon Video Direct” - seemingly a YouTube competitor and not an obvious extension for the company - prompted Colin and me to reflect on how many recent video industry initiatives have struck us as incongruous. There’s no doubt we’re living through an unprecedented period of instability in the video and TV industries, and a persistent question is how to parse smart experimentation/expansion from wild pitches?

In today’s podcast we discuss 7 different industry moves we’ve recently observed that seem to us like long shots that are disconnected from their companies’ core competencies vs. those that seem like natural extensions of their companies’ brand perceptions and capabilities. (Our biggest head-scratcher is Dish Network’s decision to expand into in-home iPhone repairs. Huh?).

Still, Colin and I readily acknowledge this is not hard science. To that end, we also identify a few examples that at one time may have seemed like odd pursuits, but have turned into big successes  (Snapchat’s move into professional video, with its Discover feature, is a prime example). It’s all great food for thought as we continue to assess the dynamic video landscape each day.

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I'm pleased to present the 321st edition of the VideoNuze podcast with my weekly partner Colin Dixon of nScreenMedia.

Hulu was in the news in a big way this week, confirming a WSJ report that it plans to launch a skinny bundle next year. As I wrote on Monday, the move raises numerous questions, which Colin and I debate on this week’s podcast.

Absent more information, I’m still somewhat skeptical. It feels very risky to me for Disney and Fox to convert Hulu into a pay-TV competitor. It’s also not clear that the economics of a direct subscriber relationship are superior to the steady flow of monthly retransmission consent and affiliate fees. Finally, I wonder about how big the addressable market is and how appealing the Hulu skinny bundle actually will be, particularly from an all-in cost perspective.

Colin, on the other hand, is much more optimistic. He doesn’t believe there’s much risk, thinks the economics are better going direct and believes the service can be very appealing. So clearly we’re coming at this from very different angles.

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While the main goal of Hulu’s NewFront this morning was of course to excite advertisers to open their checkbooks, the event also marked the unofficial kickoff of the company’s ambitious repositioning from a catchup SVOD hub to an all-encompassing, next-generation, personalized TV service including live linear TV feeds.

At its NewFront, Hulu’s CEO Mike Hopkins confirmed what had been strategically leaked to the WSJ in an article reported Sunday night - that the company intends to launch a skinny bundle of linear broadcast and cable TV networks to augment its on-demand programming, for monthly fee of approximately $40.

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With so much uncertainty in the TV and online video industries these days, I keep telling myself to never be surprised by anything anymore. But last night, when the WSJ headline, “Hulu is Developing a Cable-Style Online TV Service” popped up in my Twitter feed, I have to admit it tested the boundaries of my imagination.

The most immediate head-scratcher was that such a move would position Disney and Fox, two of the three network shareholders in Hulu (along with Comcast, which is now a silent partner due to terms of its NBCU acquisition) as direct competitors of pay-TV operators, their biggest distributors. These companies spend billions of dollars per year to carry the very same TV networks that would now be included in the skinny Hulu lineup.

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Turner announced this morning that it will launch a new ad-free SVOD service this Fall dubbed FilmStruck, which will be managed by Turner Classic Movies and exclusively draw on movies from Criterion Collection. According to the release, FilmStruck is targeted to “diehard movie enthusiasts who crave a deep, intimate experience independent, foreign and art house films.”

A Turner spokesperson confirmed that Criterion’s 1,000 movie catalog will move over from Hulu in November, where it has been under an exclusive deal announced in February, 2011 and extended in April, 2014.

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I'm pleased to present the 319th edition of the VideoNuze podcast with my weekly partner Colin Dixon of nScreenMedia.

Colin and I are back from NABShow where I produced the 2-day Online Video Conference, which included 52 speakers over 15 sessions. One of the highlights for me was doing a keynote interview with Michael Paull, VP of Digital Video at Amazon who oversees the company’s new Streaming Partners Program (SPP).  

As I wrote yesterday, SPP will likely have a majority of U.S. SVOD services included this year, putting Amazon in the undisputed role as THE third-party distributor of SVOD in the U.S. Colin and I dig into why that is potentially so critical and the implications it could have for Netflix and the pay-TV industry. (Colin provides a personal example of how Amazon hooked him on a subscription to Tribeca Shortlist which he never would have found on his own).

We then transition to specific takeaways from NABShow. Colin notes that many vendors were demonstrating how online video can be delivered with guaranteed quality and user experiences, making online video every bit as good as TV itself. For pay-TV operators specifically, the imperative to move video services online has never been higher.

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Amazon is likely to have a majority of all SVOD services available in the U.S. included in its recently launched Streaming Partners Program (SPP) this year, setting the stage for the company to become the main third-party distributor for dozens of SVOD services. As this happens, there will be significant implications for the structure of the SVOD industry, not least of which will be changing the competitive dynamic between Amazon and Netflix, just as the latter’s domestic subscriber growth appears to be flattening. Another important implication would be Amazon’s impact on the U.S. pay-TV industry and role with cord-cutters.

Michael Paull, Amazon’s VP of Digital Video, who runs the SPP, told me during our keynote interview on Tuesday at the NABShow Online Video Conference that he expects “dozens” of SVOD services in the U.S. will become part of the SPP in the coming months. When added to the 30+ SVOD services already available in SPP, the result would be that the majority of U.S. SVOD services would be part of SPP. (Note, according to Parks Associates’ recent research there are 98 U.S. SVOD services aside from Netflix, Hulu and Amazon currently available).

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Amazon has launched an $8.99/month standalone plan for its Prime Video service, breaking it out of the overall Prime service for the first time. The company is also offering a $10.99/month option for Prime itself, a first time departure from the traditional annual approach.

The standalone plan for Prime Video means that for the first time Amazon’s video service can be valued by consumers on an apples-to-apples basis with other SVOD services without being clouded by other Prime benefits. By bundling video with Prime Amazon was able to introduce video to millions of Prime subscribers without them having to make an incremental purchase decision, enabling buzz to build about Prime’s original programming.

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I'm pleased to present the 318th edition of the VideoNuze podcast with my weekly partner Colin Dixon of nScreenMedia.

First up this week Colin and I dive into the Parks data from yesterday revealing that just 5% of US broadband homes subscribe to one or more of the 98 SVOD services other than the big three (Netflix, Amazon and Hulu). We agree that the data underscores just competitive it will be for the 98 and growing) minnow SVOD services to breakthrough.

One of those 98 services is Sling TV, which this week announced the beta of a new $20/month multi-stream service that includes select Fox networks. While Colin believes it’s a smart move by Sling TV to further segment the market, I view it as both confusing and also counter to Sling TV’s brand proposition, at least as it’s currently offered.

By separating the Fox networks and ESPN networks on 2 different tiers, Sling TV is in effect forcing sports fans to take both. That means $40/month for just the 2 base packages, and, as best I can tell there are 22 other networks that are duplicated in both tiers (meaning dual subscribers are in effect paying twice for them).

It’s hard to see how this represents breakthrough value and simplification of TV. Rather it just seems like unnecessary confusion, likely driven by Disney and Fox licensing restrictions to hedge against Sling TV becoming too popular.

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Here’s a measure of how dominant the big three SVOD services (Netflix, Amazon and Hulu) are in the US: according to new OTT data from Parks Associates, just 5% of all broadband homes subscribe to one or more of the 98 SVOD services available in the US aside from the big three. Among the 98 services Parks counted are high-profile offerings like HBO Now, CBS All Access and Sling TV.

At the end of 2015, there were approximately 96.3 million broadband homes in the US, according to Leichtman Research. So that would mean that about 4.8 million broadband homes were subscribing to one or more of the 98 SVOD services outside of the big three. Parks did not specify the actual subscriber levels of any of the 98 SVOD services.

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I'm pleased to present the 316th edition of the VideoNuze podcast with my weekly partner Colin Dixon of nScreenMedia.

It seems like a week doesn’t go by these days without a new SVOD service being announced or launched. For example, this week Fullscreen said it would launch its “fullscreen” SVOD service on April 26th, while comedian Kevin Hart and Lionsgate announced a new video/games service.

In today’s podcast, Colin and I discuss these ventures, as well as Redbox’s planned SVOD service, NBCU’s Hayu (“hey you”) reality SVOD startup, Cinedigm’s CONtv, Vessel and YouTube Red, all in the context of the crowded SVOD landscape.

We’re both convinced that ultimately viewers won’t subscribe to more than a handful of SVOD services, meaning many of these new ventures won’t ever achieve scale. To support our SVOD analysis, we use the framework I posted a year ago with 9 key criteria. I continue to believe it is a valuable tool to add rigor when comparing services.

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Another day, another new SVOD service. Yesterday, Fullscreen said that April 26th would be the launch date for its “fullscreen” $4.99/month ad-free SVOD service which had been teased last fall. Fullscreen is targeting 13-30 year-olds with 800+ hours of content that will include films plus scripted and unscripted online originals and exclusives from YouTube stars like Grace Helbig, Shane Dawson, Hannah Hart and Jack & Dean.

Like Vessel and YouTube Red, two other SVOD services based on exclusive or windowed YouTube creator content, fullscreen is another test case for millennials’ willingness-to-pay for content that they’re long accustomed to getting for free (putting aside the differentiators of earlier access and exclusivity).

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