Tag: SVOD

  • Ditto TV aims to double revenues this fiscal; plans more original shows

    Ditto TV aims to double revenues this fiscal; plans more original shows

    MUMBAI: It’s gotten late off the blocks but it sure is looking to sprint ahead and fast. We are talking about the Zee network’s digital over the top (OTT) offering Ditto TV.

     

    Zee Digital Convergence (ZDC) Chief Executive Officer Debashish Ghosh told PTI over the weekend  that his goal is to double his company’s revenue from around Rs 30 crore to Rs 60 crore this year, with almost 95 per cent of it coming courtesy subscription.

     

    With 1.8 million subscribers on a monthly basis and almost 60 percent of them being repeat viewers, Ditto TV is present in 167 countries. Most of its consumption is however happening in India. With the exception of Star and Sun group channels, Ditto TV offers 156 channels across 13 languages. Ghosh further told PTI that almost 30 per cent of Ditto TV subscribers consume live TV.

     

    ZDC  has invested around $5 million in Ditto TV over the past three to four years, Ghosh disclosed. That is slated to go up in the coming months as it starts pumping in money into original content. The first of these is a music based show called Life is Music; other programmes are being planned in-house as well as with outside producers.

     

    Clearly, the OTT original content space is seeing a lot of action.

     

    Netflix is slated to launch in India by mid next year and invest top dollar in cutting edge content. Star India’s Hotstar already has an average of 20 million users every month. It has paid a fat commissioning fee to stand up comedy group All India Bakchod to produce shows running over 20 episodes. Then it has been premiering some of its big-ticket Bollywood movies and TV shows on Hotstar.

     

    Entertainment major Eros International recently announced that the registered user base of its OTT service Eros Now has grown to 30 million as of 30 September.  It has ordered six new original shows which are slated to debut soon and feature big name stars.

     

    MSM Media’s Sony Liv, on the other hand, notches up an average of 5-7 million monthly users, and is also getting into OTT content.  It is experimenting with a fiction show titled  Love Bytes. Then the Viacom18 group is also pacing on the sidelines, gearing up to launch its own OTT service under the leadership of Gaurav Gandhi.

     

    Ghosh, while speaking at IDOS (organized by Indiantelevision.com and MPA in September) said that the hyper activity is good for the OTT sector as a whole.

     

    He further  told PTI, that India is expected to have 500 million Internet users by 2017, out of which 382 million would be smartphone users, 70 per cent whom would be 3G/4G customers. And that is what is exciting the Zee TV network to further invest in Ditto TV.  Add to that the prediction that almost 60 per cent of India’s population is going to below 40 by 2020, and that both wired and wireless broadband infrastructure will be in place. That’s the positive side.

     

    “But the fact is that the OTT players will find the going challenging,” says a media observer. “At least until the numbers really scale up and bandwidth constraints and costs fall. Indian consumers are chary of paying for content, apart from cricket. Hence, Hotstar has taken the AVOD route (advertising video on demand). But advertisers and agencies have been reluctant to buy into the medium; at least at prices Star has envisaged. Eros Now has announced a multiple revenue stream offering which includes advertising, transactional (TVOD) and subscription video on demand (SVOD), with differential pricing for Indian and international consumers. Ditto TV is primarily SVOD and its growth has been limited so far. Each of them has to find a robust and sustainable revenue model.”

  • Balaji Telefilms targets OTT as core business in 5 years’ time

    Balaji Telefilms targets OTT as core business in 5 years’ time

    BENGALURU: Just a couple of days back at the Indian Digital Operators Summit (IDOS) 2015 organised by Indiantelevision.com and Media Partners Asia, Telecom Regulatory Authority of India (TRAI) principal advisor SK Gupta said that ‘the customer was king’ and suggested that players in the broadcast industry ecosystem look at over-the-top (OTT) platforms to cater to the consumers need.

     

    Taking a cue from the current ‘over the top’ mood in the Indian broadcast industry, Balaji Telefilms Ltd is planning to make digital B2C (business to consumer) as its core business in five years’ time. This strategy will be driven via its own content as well as curated content.

     

    As was reported earlier by Indiantelevision.com, this business will be housed under Balaji’s subsidiary company ALT Digital, which was re-launched in Q2-2016 with renewed vigour.

     

    With a three-pronged growth strategy covering television, films and digital B2C, Balaji Telefilms is looking at becoming a diversified media company. The most important component of the company’s growth strategy is to diversify into new opportunities via digital B2C. Balaji’s plans are built around the emerging changes in the consumers’ viewing habits.

     

    Through ALT Digital, Balaji plans to offer original and curated premium content on its own Subscription Video on Demand (SVOD) and advertising -Video on Demand (AVOD) platform across multiple genres and languages to garner a share of the online mobile and video market. The subscription driven platforms on ALT mobile app and other connected devices as well as the ALT website are slated for a Beta launch in Q3-2016 (quarter ending 31 December, 2016). Additionally, technical development, content production, promo launch and pre-launch marketing is also being targeted in the same quarter. The formal launch is being targeted for Q4-2016 (quarter ending 31 March, 2016).

     

    While Balaji has been a content company, it seldom has had the chance to interact directly with the consumers. Now with the digital foray, not only will it have an opportunity to connect with consumers but will also be the owner of the digital IP unlike in television content where the IP of the show belongs to the broadcaster.

     

    According to the company, a majority of content available online are either re-runs or DIY, which in turn leaves a big opportunity to offer original web-series for internet audience.

     

    The business model that Balaji has chalked out for digital is subscription based ‘freemium’ approach as the primary source of revenue. Revenue from advertising, licensing and sponsorship will be the secondary source of revenue.

     

    Targeting an urban and semi-urban audience group that comprises smartphone internet users active on YouTube and social media in the 19-34 age group, Balaji plans to use global ‘best of breed’ technology to ride on the imminent explosion of internet bandwidth in the country. Viewers will have streaming and offline viewing options, delivered over multiple screens. 

     

    The company’s strategy is to churn out original, edgy, never-seen-before content in India created especially for the OTT platform.

     

    Balaji Telefilms is in the process of putting together a skilled team. Additionally, a robust implementation plan is being executed to help realise the opportunity and meet its goals.

     

    Apart from its digital focus, Balaji Telefilms’ other two areas of focus are its existing businesses of television content and film production. On the television front, the company, which has had Hindi fiction as its mainstay until now, is planning to foray into regional and non-fiction content by making selective risk-reward plays. On the other hand, for films Balaji’s strategy is to scale moderately and become profitable.

  • MGM Holdings revenue down, income up in Q3-2014

    MGM Holdings revenue down, income up in Q3-2014

    BENGALURU: MGM Holdings Inc (MGM) reported 4 per cent drop in revenue to US$ 233.47 million in Q3-2014 from US$ 242.90 million in Q3-2013. Income for the period rose 72 per cent to US$ 28.59 million in Q3-2014 from US$ 16.59 million in Q3-2013.

     

    Here below are edited excerpts of MGM’s financial report for the quarter ended 30 September 2014.

     

    MGM says that as expected, revenue was lower due to the significant revenue it generated from its franchise film, Skyfall, which began its worldwide pay television and SVOD distribution in the prior year’s third quarter. This was largely offset by revenue performance in several areas in the current year’s third quarter, including higher revenue from MGM’s home entertainment distribution business, led by the worldwide distribution of RoboCop, plus higher revenue from its successful new television content and incremental revenue from previously released film content.

     

    Theatrical Revenue

     

    MGM’s Worldwide theatrical revenue was US$ 6.5 million for the three months ended 30 September 2014, an increase of US$ 3.9 million as compared to US$ 2.6 million for the three months ended 30 September 2013.

     

    Theatrical revenue for the current year’s third quarter primarily included international revenue for Hercules from certain territories where MGM controls the distribution rights. However, it did not recognise a substantial portion of the worldwide theatrical revenue for If I Stay, Hercules and 22 Jump Street, which are accounted for on a net basis after deduction of theatrical advertising and other related distribution costs. Net revenue from co-produced films is classified as other revenue from film and television content (see below). In comparison, theatrical revenue for the prior year’s third quarter primarily included the tail-end of the international theatrical distribution of The Hobbit: An Unexpected Journey.

     

    Home Entertainment

     

    Worldwide home entertainment revenue was US$ 41.7 million for the three months ended 30 September 2014, an increase of US$ 7.3 million as compared to US$ 34.4 million for the three months ended 30 September 2013. Home entertainment revenue increased in the current year’s third quarter due to the worldwide home entertainment distribution of RoboCop, which commenced in June 2014, plus the continued international distribution of The Hobbit: The Desolation of Smaug. In comparison, MGM did not have a significant home entertainment release in the prior year’s third quarter, which primarily included revenue from the continued international home entertainment distribution The Hobbit: An Unexpected Journey and Skyfall worldwide. The company says that it is also keenly focused on strategies to maximise home entertainment revenue for its library, including targeted promotions such as the MGM 90th anniversary promotion in the current year. In addition, it has a steady pipeline of new film and television content that continues to generate home entertainment revenue, including recently released titles such as The Hobbit: An Unexpected Journey internationally, Carrie, Skyfall and its successful television series, Teen Wolf and Vikings, which have performed well in both physical home entertainment and EST.

     

    Television Licensing

     

    Worldwide television licensing revenue was US$ 150.6 million for the three months ended 30 September 2014, a decrease of US$ 15.2 million as compared to US$ 165.8 million for the three months ended 30 September 2013. Television licensing revenue was lower in the current year’s third quarter primarily due to significant revenue from Skyfall in the prior year’s third quarter, including its domestic pay television premiere on Epix and its initial pay television and SVOD availabilities in several territories internationally. The prior year’s third quarter also included the initial international television licensing of The Hobbit: An Unexpected Journey. Partially offsetting this decline was higher revenue from new television content in the current year’s third quarter, which primarily included MGM’s continued international television licensing of three successful current television series, Teen Wolf, Vikings and Fargo. In addition, MGM says that it generated revenue from several new film releases, including the initial international pay television and SVOD availabilities of The Hobbit: The Desolation of Smaug, the domestic pay television premiere of Carrie on Epix, and VOD revenue for RoboCop.

     

    Other Revenue

     

    Other revenue from film and television content was US$ 13.6 million for the three months ended 30 September 2014, a decrease of US$ 10.7 million as compared to US$ 24.3 million for the three months ended 30 September 2013. Other revenue primarily included net revenue for MGM’s share of the distribution proceeds earned by its co-production partners for co-produced films for which its partners control the distribution rights in various distribution windows, including theatrical, home entertainment, television licensing and ancillary businesses. Net revenue from co-produced films is impacted by the timing of when a film’s cumulative aggregate revenues exceed its cumulative aggregate distribution fees and expenses. The decrease in the current year’s third quarter primarily reflected a higher number of titles moving through first-cycle distribution windows for which MGM record’s revenue on a gross basis as opposed to a net basis.

     

    Ancillary Businesses

     

    Total revenue from MGM ancillary businesses, which include MGM branded television channel operations, interactive gaming, consumer products, music performance and other revenue, was US$ 21.1 million for the three months ended 30 September 2014, an increase of US$ 5.3 million as compared to US$ 15.8 million for the three months ended 30 September 2013. This increase was primarily due to the timing of revenue from MGM branded television channels.

     

    Click here to read the full financial report

  • HBO on Demand gets on board Tata Sky

    HBO on Demand gets on board Tata Sky

    MUMBAI: The Home of Box Office (HBO) just got cosier with ‘HBO on Demand’. The new and innovative service offered for free exclusively to subscribers of the HBO Premium Channels – HBO Hits HD and HBO Defined HD – will be available on the direct to home (DTH) platform starting today.  

     

    The service provides flexibility, choice, and convenience to subscribers giving them complete control of what they watch, when they watch and how they watch.  HBO Hits and HBO Defined are distributed by Turner International in India.

     

    “HBO and Turner have always been ahead of the curve with innovations on content delivery that are designed to entertain consumers like never before. We have received a very enthusiastic response from the discerning subscribers of HBO Defined HD and HBO Hits HD and are very happy to now extend their premium advertising-free television viewing experience with the additional feature of ‘HBO on Demand’ on Tata Sky,” said Turner International India, network and content distribution, senior director Kishan Cheranda in a press statement.

     

    Based on the Subscription Video on Demand (SVOD) model, the service will give HBO Premium subscribers access to a wide selection of HBO original content. At launch, subscribers can catch all seasons of HBO shows such as Game of Thrones (Season 1-3), True Detective (Season 1) and Banshee (Season 1-2). Thereafter, additional content including HBO original series and movies will be added on an ongoing monthly basis thus allowing subscribers to view them at a time of their choice completely advertising free.

     

    Tata Sky chief content and business development officer Paolo Agostinelli stated, “At Tata Sky, we work towards providing our premium subscribers with world class television experience with best content to offer. Apart from just bringing entertainment to their homes, now our subscribers can enjoy the programs showcased on HBO premium channels at any time that is convenient to them. Moving with time, we are aware of the changing consumption patterns of our viewers, hence we are pleased to launch the first ever ‘HBO On Demand’ model in India.”

  • WWE and ProSiebenSat.1 Announce Multi-Platform Partnership

    WWE and ProSiebenSat.1 Announce Multi-Platform Partnership

    MUNICH–(BUSINESS WIRE)– WWE and ProSiebenSat.1 today announced an expansive multi-year rights deal to deliver WWE’s unique, family-friendly content to the German and Austrian markets through Free TV, Pay TV and SVOD. The partnership includes:

     

    • WWE pay-per-view events on Germany’s largest online video store, www.maxdome.de, including WrestleMania 30 which will be available live to all fans for the first time on Monday, April 7 at 1:00 am and on demand.
    • Monday Night Raw, the longest-running weekly episodic program in U.S. primetime TV history, on ProSieben FUN pay TV.
    • SmackDown on ProSieben MAXX free TV every Saturday at 11:00 pm beginning April 5.
    • NXT on ProSieben FUN pay TV.

    WWE combines compelling storylines with an exciting mix of in-ring action, featuring WWE Superstars John Cena, Randy Orton, Alberto Del Rio, Daniel Bryan and many more.This year, WrestleMania 30 takes place on Sunday, April 6 at the Mercedes-Benz Superdome in New Orleans, LA and will be televised in more than 100 countries.

     

    “This cooperation with WWE creates tremendous added value for our viewers and customers. WWE is well recognized in Germany and has a loyal and growing fan base,” said COO of ProSiebenSat.1 Digital. “We will be showcasing some of the very best programming WWE has to offer across our various platforms including SmackDown on ProSieben Maxx and the huge event WrestleMania 30 which will be available live as a pay-per-view for the first time on www.maxdome.de.”

     

    “This new deal with ProSiebenSat.1 provides WWE fans with a great choice of platforms with massive reach to follow the storyline of WWE’s flagship programming,” said Stefan Kastenmueller, General Manager of WWE Germany. “Coupled with the increased activities from our team to bring the very best of all of our lines of business to the German market including Live Events, PPV, Consumer Products and Digital Services, we are set to solidify WWE’s footprint in Germany”

     

  • Disney movies on demand reaches over 8 million viewers in EMEA

    Disney movies on demand reaches over 8 million viewers in EMEA

    MUMBAI: Disney Media Distribution EMEA revealed the figures for its branded on-demand service Disney movies on demand and the continued growth of ABC TV on demand and Disney channels on demand, this Mipcom.

    Since its launch at Mipcom in October 2012, Disney movies on demand, the family-friendly branded SVOD service, is now available on 12 live platforms in six EMEA territories. Disney movies on demand most recently launched on OSN in the Middle East and North Africa and Wuaki in the UK , reaching over eight million consumers across EMEA.

    The service gives customers access to a wide range of Disney’s classic animation and live-action hits including the classic animation ‘Jungle Book’, Disney Pixar’s ‘Monsters’ and ‘Pirates of the Caribbean’.

    Since its launch in 2010, ABC TV on demand has been launched on 26 platforms in 16 EMEA territories. In 2013 to date ABC TV on demand has had over 60 million views in EMEA. In 2012, ABC TV on demand launched in four new countries and on 11 new platforms, registering 33 per cent increase in reach and 80 per cent increase in total views.

    Disney channels on demand that offers popular Disney channel, Disney XD and Disney Junior series at the click of a button, is now available to 47 million Disney channel subscribers across EMEA on 55 live platforms, with further launches scheduled before the end of the year. The channel on demand has also enjoyed particular success in France, where it is now available to 4.7 million viewers with a 62 per cent uplift in viewers between July 2012 and July 2013.

    The Walt Disney Company EMEA SVP & GM media distribution Catherine Powell said, “Disney and ABC Studios content is hugely popular with viewers across EMEA and the significant growth of our branded on-demand services reflects that. We are committed to bringing our great characters and excellent storytelling to all members of the family when they want it; where they want it and how they want it. Our branded services will continue to be a focus for the future.”

  • Netflix dominating the subscription video-on-demand (SVOD) subscribers market

    Netflix dominating the subscription video-on-demand (SVOD) subscribers market

    NEW DELHI:The Telecom Regulatory Authority of India (TRAI) seems to be getting hyperactive. Just like its head the ever so aggressive Rahul Khullar.

    In the past month or so it has been releasing consultation papers and regulations like it is in a hurry. Today, it released another two draft regulations. Both relate to the interconnection agreements that broadcasters sign with distributors such as Cable TV, DTH and IPTV operators.

    Entitled the “Telecommunication (Broadcasting and Cable Services) Interconnection (Digital Addressable Cable Television Systems) (Second Amendment) Regulations, 2013” and the draft “Telecommunication (Broadcasting and Cable) Services (Fourth) (Addressable Systems) Tariff (Second Amendment) Order 2013,” they seek to amend some regulations that TRAI had passed earlier in relation to tariffs and interconnect agreements in earlier years. (Earlier, TRAI had notified the Interconnection Regulations for DAS dated 30 April 2012 as amended on 14 May last year and the Tariff Order applicable for the Addressable Systems dated 21 July 2010 as amended on 30 April last year).

    The amendments it has proposed state:

    * Multi system operators (MSOs) cannot seeks signals of a particular TV channel from a broadcaster under ‘must provide‘ clause while at the same time demanding carriage fee for carrying that channel on its distribution platform.

    * No minimum channel carrying capacity has been prescribed for the MSOs. However, the MSOs are mandated to carry the channels of broadcasters on non-discriminatory basis under the ‘must carry‘ provision.

    * The service providers of the addressable systems are allowed to price and package their offering of channels, however, they are required to comply with the modified twin conditions, as proposed in the draft amendment to the tariff order. These twin conditions are (a) the a-la-carte rate of a pay channel forming part of a bouquet shall not exceed two times the a-la carte rate of the channel offered by the broadcaster at wholesale rates for addressable systems (b) the a-la-carte rate of a pay channel forming part of a bouquet shall not exceed three times the ascribed value of the pay channel in the bouquet. The TRAI says it is doing this to ensure that the a-la-carte rates offered to the subscribers are reasonable vis-? -vis the bouquet/package rates.

    *As in the case of pay channels, operators can specify a minimum subscription period, not exceeding three months, for Free-to-Air (FTA) channels subscribed on a-la-carte basis by the subscribers.

    *Subscribers are free to choose channels on a-la-carte basis or bouquet/package basis or any combination of a-la-carte and bouquet/package.

    *Channels, such as HD orMUMBAI: According to The NPD Group, a global information company, growth in watching television programming is driving subscription video-on-demand (SVOD) viewership, and Netflix continues to clearly dominate the category.

    According to NPD‘s VideoWatch VOD report, in the first quarter of the year the number of viewers watching television shows using SVOD services increased by 34 per cent, compared to the same quarter year-ago. NPD‘s VideoWatch Digital tracking shows Netflix dominating the sector, with a 90 per cent share of video-streaming units during the first quarter, which was four percentage points lower than last year.

    In the TV category alone, which accounts for 80 per cent of streams, Netflix holds an 89 per cent share. HuluPlus showed healthy growth in 2013, with 10 per cent of TV streams in Q1, while Amazon Prime accounts for just two per cent of the overall TV units streamed.

    NPD senior VP of industry analysis Russ Crupnick said, “There‘s no doubt that Netflix is driving the growth in SVOD, particularly with increased attention to television programming. We are also seeing good gains in the streaming numbers from Hulu Plus and Amazon Prime, and while neither pose an immediate threat to Netflix it is interesting to see which services later adopters will try.”

    In the first quarter of 2012, 76 per cent of SVOD subscribers streamed only from Netflix. This year that figure fell to 67 per cent, while 10 per cent of SVOD streamers used both Netflix and Amazon Prime, and eight per cent used both Netflix and Hulu.

    Crupnick said, “Since its launch, Netflix Watch Instantly has enjoyed a virtual monopoly on the SVOD market, and the company still has a quite comfortable market-share lead. While Hulu Plus and Amazon both still have a long way to go before they come close to catching Netflix, we are beginning to see increasing trial of these services, even among some Netflix users.” 3D, requiring special type of set top boxes are to be offered on a-la-carte basis and if such channels are also offered as a part of a bouquet(s), corresponding to each such bouquet, the operator would be required to offer bouquet(s) excluding the HD and 3D channels, at a reduced price, commensurate to the rates of these HD and 3D channels.

    Written comments on these draft amendments have been invited from the stakeholders by 18 June.

    You can download the two new proposed amendment drafts by clicking on the following links:

    Telecommunication (Broadcasting and Cable Services) Interconnection (Digital Addressable Cable Television Systems) (Second Amendment) Regulations, 2013

    Telecommunication (Broadcasting and Cable) Services (Fourth) (Addressable Systems) Tariff (Second Amendment) Order 2013

  • CBS in content licensing deal with Amazon for Under the Dome

    CBS in content licensing deal with Amazon for Under the Dome

    MUMBAI: Amazon Instant Video, the digital video streaming service, has entered into a content licensing agreement with CBS for its television series Under the Dome, establishing an in-season, online subscription-video-on-demand (SVOD) window for the show on Amazon’s Prime Instant Video service.

    Prime Instant Video will be the exclusive online subscription home for Under the Dome.

    The serialised drama from Steven Spielberg’s Amblin Television, based on Stephen King’s best-selling novel of the same name, will premiere on the CBS Television Network on 24 June.

    Amazon Prime members will have unlimited streaming of all the series’ episodes four days after their initial broadcast on CBS, at no additional cost, and will be able to enjoy them on hundreds of compatible Amazon Instant Video devices including Kindle Fire HD, iPad, iPhone, iPod touch, Roku, Xbox 360, PlayStation 3 and the Wii U gaming console. Episodes of Under the Dome will also be available for purchase and download exclusively at Amazon Instant Video.

    Under the Dome tells the story of a small New England town that is suddenly and inexplicably sealed off from the rest of the world by an enormous transparent dome. Under the Dome earned widespread critical acclaim and No. 1 best-seller status when it was first published by Simon & Schuster‘s Scribner in 2009 and was an Amazon.com bestseller in both Books and Kindle Books in 2009.

    “Amazon has the distinct combination of having a terrific video service with a huge fan base among their customers for Stephen King’s book, making them the perfect partner for this summer programming event,” said CBS Corporation Chief Corporate Content Licensing Officer Scott Koondel. “With this innovative agreement, we’re giving fans more options to watch and stay current with this serialized series, and doing so in a way that protects the Television Network’s C3 advertising window.”

    “With creative forces of Stephen King and Steven Spielberg’s Amblin Television behind Under the Dome, we think our customers will love this new show and we’re excited to be able to offer this ighly-anticipated series at no additional cost to Prime members,” said Amazon Director of Digital Video Content Acquisition Brad Beale.

    “Adding a current season major network TV series like Under the Dome to the Prime Instant Video library so shortly after its live airing enables us to increase our exclusive selection of great TV shows and give customers access how, when and where they want to watch it.”

    Just last week, Amazon announced that Prime Instant Video will soon become the exclusive online subscription home for PBS hit Downton Abbey.

    The Prime Instant Video library now features more than 36,000 movies and TV episodes including shows such as Downton Abbey, Fringe, and The West Wing and blockbuster movies including Mission Impossible: Ghost Protocol, Rango and Transformers: Dark of the Moon, for Amazon Prime members to stream, commercial free at no additional cost on Kindle Fire HD, iPad, iPhone, iPod touch, Roku, Xbox 360, PlayStation 3, Wii and Wii U, among other devices.

    Under the Dome is produced by CBS Television Studios in association with Steven Spielberg’s Amblin Television. Neal Baer,

    Stephen King, Justin Falvey, Darryl Frank, Stacey Snider and Brian K. Vaughan, who wrote the television adaptation, will serve as executive producers. Acclaimed director Niels Arden Oplev will direct the first episode.

  • Free streaming gaining ground in the US

    Free streaming gaining ground in the US

    MUMBAI: New options are emerging in the consumer television landscape in the US though traditional pay TV operators and broadcaster networks still dominate, according to The NPD Group, a global information company.

    The new options include subscription video on demand (SVOD), electronic sell-through (EST) and free TV streaming.

    While SVOD drives the most online TV streams by far, the incidence of consumers who used SVOD and free streaming in 2012 was relatively equal.

    According to NPD‘s “Free Streaming TV” report, 12 per cent of US TV watchers reported streaming TV shows for free during the prior three months, compared to 14 per cent who watched a TV show via SVOD.

    NPD senior VP of industry analysis Russ Crupnick said, “Over half of the viewers for streaming TV are between the ages of 18 and 34, so the YouTube generation is evolving from short-form and user-generated content to TV shows and, like YouTube, they can watch where and when they want. Despite the attention lavished on tablets and phones, an astonishing 83 percent of free TV streaming programs are viewed on a computer.”

    Nearly all broadcast and cable TV networks offer free streaming of their programming via the Internet; however, based on NPD‘s latest information, consumer usage of free-streaming TV sites varies. Hulu.com dominated free streaming TV, accounting for 43 per cent of total streams during 2012.

    After Hulu, the five broadcast network sites (CBS.com, ABC.com, FOX.com, NBC.com, and CWTV.com) accounted for another 30 per cent of total streams. Four cable TV sites — abcfamily.com, comedycentral.com, MTV.com, and A&ETV.com — round out the top-ten free streaming TV sites. NPD‘s research shows that streaming consumers are very satisfied overall with the experience.

    All of the top 10 free streaming sites have strong consumer feedback with 75 per cent or more of each of these site‘s users reporting that they intend to return to the site in the future.

    Hulu.com, in particular, has very committed users, given that two-thirds say they “definitely” will return to the site.

    These free sites generally perform well on convenience and site organisation. Most of them also perform well on current release availability; however, Fox.com streamers rate the site much lower on this measure, due to the fact that Fox generally delays availability of its programming. “The consumer response to program availability on Fox, speaks to the often-controversial question of whether the audience detects shows that are windowed,” Crupnick added.

    Based on NPD‘s findings, the shift toward internet video distribution drives a more complex and diverse set of content and purchase and rental options to consumers. With it comes a more diverse set of direct and indirect competitors among movie studios and TV networks, as well as their TV and digital distribution partners.

    According to Crupnick, “from the consumer perspective, it is important to monitor the habits and perceptions of the audience as all of these distribution models evolve, which will help align programming to the target audience and inform whether consumers are responding positively to the experience these options provide.”

  • DHX Media closes SVOD and VOD deals globally

    DHX Media closes SVOD and VOD deals globally

    MUMBAI: DHX Media, a leading producer, distributor and licensor of kid’s content, has signed a slew of international subscription video on demand (SVOD) and video on demand (VOD) deals underscoring its aim of exploiting its library through new distribution platforms.

    New partners include Tesco-owned Blinkbox which has added to its offering for the UK and Ireland alongside a deal for the same regions with FUHU, which has added titles for NABI tablet users.

    Dailymotion will provide France, Switzerland and Belgium with various titles and also in France and Belgium, viewers will now also be able to access a selection of DHX Media content via the Canal Play Infinity and Belgacom platforms, respectively.

    Elsewhere in Europe, a number of DHX Media shows will be on demand in Italy through Media Network, while in Slovakia VOD content will be provided by Voyo, in Greece and Cyprus by Riverdrop and in Turkey by D-Smart and TTNET.

    In Russia TVZOR has acquired a number of series in SVOD and advertising video on demand (AVOD) deals. In the southern hemisphere, Wananchi has snapped up key titles for the East African market and Opticom for Argentina.

    DHX Media SVP Distribution Josh Scherba said, “We are firmly committed to seeking opportunities with new platforms, and with a catalogue totalling over 8,500 half hours of programming, we are well positioned to supply digital networks with a significant volume of quality content.”