Published April 23rd, 2020
It’s probably not a great surprise that most stats published recently show that video viewing is up overall in countries enduring a COVID-19 induced lockdown. But if you look more closely at the stats three distinct patterns emerge: ● Daytime viewing is performing really well – primarily powered by large upticks in news and kid’s programming ● Live video growth is outperforming the growth in VoD and streaming – primarily driven by news ● Operators and content owners are trying new business models, such as ‘straight to streaming’ for new movies.
Daytime video viewing
While overall viewing has increased, one of the biggest trends has been a resurgence in daytime viewing. Because the effects of the global pandemic are having far-reaching impacts across the economic and political spectrums, news channels are seeing a major increase in viewership figures. Meanwhile, with social restrictions forcing schools to close down, kids have been turning to their favourite channels to pass the time. Streaming platforms are seeing increased viewership.
AT&T highlighted that CNN daytime viewership increased 150% in the week commencing 16 March compared to last year, meanwhile, on Monday, March 16 (the first full weekday following actions taken by many local and state governments to begin enforcing social distancing measures across the US) Fox News, MSNBC and Fox Business all experienced significant double-digit increases. A Nielsen analysis report also showed that consumers are increasingly gravitating to local news outlets to stay informed about the impact of the pandemic on their communities.
As governments are continuing to give daily updates on their efforts to address the virus and advise their citizens on the next course of action, it is likely that we will continue to see a rise in news consumption as people tune into their trusted channels for ongoing information about the world around them. And it’s not just news that’s enjoying a surge in popularity, with family-oriented programming channels also enjoying strong audience growth, with reports of TeenNick almost tripling and total time spent watching the network increasing 171%, DisneyXD and Nicktoons daytime viewing up over 60% with Nick Jr. and the Disney Channel up around 30%.
Live video viewing is rising fast
The Havas Media Group COVID-19 Media Behaviours Report found that in the UK 48% of people are watching more live TV than they did before lockdown, with around 40% watching more video on demand and streaming services. The report also showed that Live TV has a 40%+ upswing in all age groups, whereas streaming and VOD growth was concentrated in the younger age groups. Havas also reported strong TV growth for TV viewing in the other regions monitored, including France, Germany Italy and China.
In the USA, reports are showing total viewing hours up for live TV, driven upwards through an increase in total news viewing by over 70%.
New business models
Operators and content distributors are once again finding the truth of necessity being the mother of invention, with changes to schedules and business models.
Discussing the challenge of lockdown viewing, Ryan Chanatry, general manager of Topic, a popular OTT streaming service powered by 24i, told us that he is producing a limited series comedy special, to lighten people’s spirits and has been able to rearrange its programming schedule to launch a few high-profile and most binge-worthy dramas and comedies earlier than initially planned.
Another interesting trend is looking afresh at movie windows, with some studios trying ‘straight to streaming’ release windows. Reporting on this trend, Colin Dixon of nScreen Media discussing NBCU pressing ahead with PVOD, wrote: “It (NBCU) released Trolls World Tour direct to digital on April 10, and the move seems to have paid off. The $20 rental generated $2-$3 million on the first day of release in the U.S. and could be headed to outstrip Avengers: Endgame first week of digital availability.”
Our customers are enjoying viewing uplifts, in some cases much higher than the figures reported above. At Amino and 24i we continue to work hard to support our broadcast clients to work as effectively and efficiently as possible and that our OTT and streaming customers can readily scale in line with demand.
I’m looking forward to watching how these trends will play-out and if they will permanently affect business models as well as enabling us all to view what we want, when we want, at home, at work or on the move; long after the COVID-19 lockdown is over.
Contact us today to find out 24i can help you scale and extend your OTT streaming services
By Ramon Duivenvoorden, Chief Commercial Officer at 24i
The key to producing consumer products cost-effectively is mass-customization. We’ve certainly come a long way since you could have a Ford in any colour as long as it’s black, but a modern car manufacturer will not give you a huge number of product variables – yes, you can choose a colour other than black, and you’ll be able to buy a sports pack, or upgrade the in-car entertainment system, but the car OEM will probably decide whether the model you want has a spoiler!
In many ways, software development has followed a similar path – the developer has decided what the solution set should be for a given problem, built a product around that solution set and allowed some level of customization around that.
Over time, additional features are required that go beyond the level of customization allowed in the original product specification. Pretty quickly under this development paradigm, the client has a system that’s no longer based on a solid code-base, so it cannot benefit from roadmap upgrades, shared innovation and maintenance. At the same time, they also have a system that lacks the benefits of custom development such as full control over code and feature set.
This is how media entertainment apps have traditionally been developed, and we think it’s broken. Fortunately, there’s another way.
Over the last 2 or 3 years, we’ve striven to base 24i product development on what we call Customer Centric principles.
As you might guess the overarching philosophy is to put the customer first, but in reality, what does this actually mean?
We’ve boiled this down to a number of principles that we adhere to in how we think about s/w development and build products, as follows:
So, how does this work in practice? As an example, one of our clients wanted to move from a profit to a non-profit model. The consumers using their app could move from a subscription model to a ‘single charitable donation for life’ model. There are complex rules that have to be adhered to when you’re accepting charitable donations – if this customer had been with a traditional developer, the switch would have needed a lot of new code, too much time and money, and potentially compromise the architectural integrity of the application. This is assuming they did not select an out-of-the-box vendor that would simply decline the request for the new flows.
Because our app was built on micro-services, with a minimum of dependency between the services, we were able to replace the components that needed to change and make the switch in weeks. More importantly, we enabled this change without a branch in the client’s code, so that moving forward they continue to gain from future 24i product roadmap developments.
I believe that sooner or later virtually every client has specific needs that are critical for their business. Yet, at the same time, most requirements are common between all streaming media businesses. Our Customer Centric approach based upon micro-services means that we can deliver scale, innovation and stability on these common needs, while offering the freedom to break free for that custom 5% that enables our customers to set themselves apart from the competition or fulfill unique business needs.
We know that customer-centric development based upon micro-services is the way to go – but it’s not necessarily obvious to potential customers how great an advantage this is, until they need to make a key pivot in business model, or another customized change is the one that breaks this particular camel’s back. Which is why I’m writing this blog!
If you would like to know more about our approach to Customer Centric development, please get in touch - and look out for upcoming blogs from 24i CTO Pavel Jacko who will discuss the technical principles in more depth.
Jan 22, 2019
There will be more than 777 million global SVOD subscriptions by 2023, more than double from 2017 according to Ooyala’s new State of the Broadcast Industry 2019 report, which also found that the momentum only stands to increase.
The report – which draws on Ooyala’s own data and analysis as well as research conducted by other organizations – also underscores that viewers of all ages are increasingly adopting streaming services as their primary source of TV content. While Boomers and the Silent Generation (those born before World War II) remain the lifeblood of traditional broadcasters, they too are increasingly adopting over-the-top (OTT) and video on demand (VOD) platforms.
2018 was a year of significant change in the broadcast industry. There was a surge in M&A activity, an increase in the amount of time consumers spent with SVOD and AVOD content and a significant decline in pay-TV subscribers in North America as viewers changed how they watch TV… OTT jumped into the mainstream. There’s even more change in the cards for 2019.
Among US adults 50-64, OTT viewing increased 45% between 2016 and 2017; among US adults 65+, viewing was up 36%.
The report also postulated that mobile platforms will be a significant factor in OTT consumption in the future, given that estimates say video could make up as much as 90% of all 5G traffic.
“For OTT, that means faster and smoother delivery of video, no buffering, higher resolution, and a better, more engaging experience for users; for AVOD companies specifically, it will foster the collection of better, deeper data that could be used to better personalize advertising,” said the report.
The lesson for traditional broadcasters, the report noted, is to adopt the mindset of a diversified media company – as more programmers and distributors are joining, rather than fighting, the push into OTT.
“Subscription and ad-supported OTT services are steadily replacing traditional content delivery, and there’s no end to the opportunity to create connections with a global audience,” said Ooyala principal analyst Jim O'Neill. “OTT is not traditional TV. It thrives upon consumer choice, often random interaction, and the convenience of viewing when, where and on what device a consumer chooses. It thrives upon its own ability to iterate in order to respond to the changing conditions of the new TV environment.”
Meanwhile, as mobile viewing soars, it turns out that screen size still matters to the majority of consumers. A full 40% of US consumers who replaced a TV between October 2016 and October 2018 said they wanted to purchase a bigger screen, per The NPD Group. And consumers are going all-in on 4K UHD, driven largely by SVOD services, like Netflix, and the promise of 4K and UHD content from major sporting events, like the Winter Olympics and the FIFA World Cup.
“Content owners have seen a massive increase in the demand for their products,” continued O'Neill. “That will continue as OTT services push out across the globe and original content maintains — and grows — its value. It’s becoming increasingly important for media companies – both big and small – to closely monitor and control the content supply chain.”
New OTT Services Aren’t Saturating the Market, they ARE the Market
Is the influx of new OTT services creating saturation in the market? Not by a long shot. While there’s likely a limit as to how many SVOD services users really are ready to pay for, that upper limit hasn’t yet been reached. And, as we see more channels become available a la carte, that limit may continue to rise, especially as younger consumers — who see streaming as the norm — grow older.
Jun 15, 2014
Aug 15, 2017
According to new research from The Diffusion Group (TDG), binge viewing — that is, viewing more than one episode of a TV series back to back — is rapidly becoming universal, with nearly nine-in-ten ABUs binging at least occasionally. But the frequency of binge viewing skews strongly in favor of younger adults.TDG's new analysis, Binge Viewing - A Consumer Snapshot, identifies and profiles three groups of adult broadband users in terms of their binge viewing habits.
Heavy Bingers (binge daily, comprise 14 percent of ABUs),
Medium Bingers (binge monthly but not daily, comprise 51 percent of ABUs), and
Light/Non-Bingers (21 percent of ABUs that binge less than once a month, 14 percent that do not binge at all).
Importantly, TDG analysts found that the frequency of binging is strongly correlated with the viewer's age. For example, 58 percent of Heavy Bingers are between the ages of 18 and 34, while 56 percent of Light/Non-Bingers are age 45 and older."The fact that 31 percent of Heavy Bingers are between the ages of 18 and 34 further illustrates just how different millennial viewing habits are from those of older generations," notes Michael Greeson, President and Principal Analyst at TDG. "For more than a decade, TDG has predicted and observed a structural transformation in what it means to 'watch TV,' with viewing behavior slowly changing from an activity defined by flipping between different live shows on different networks, to one characterized by on-demand binging of individual series."As these consumers age and younger generations steeped in quantum habits follow behind them, Greeson argues that this behavior will only become more prominent, further impacting programming and distribution strategies.View TDG's latest analysis of contemporary viewing behavior, Binge Viewing - A Consumer Snapshot for an insight into the different segments of binge viewers — who they are, how they behave, and what drives their decisions and preferences.
Source: TDG Research