HomeCategory OTT Question Time

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OTT viewing has boomed during this crazy year and as a result, content discovery and recommendation has never been more important. How are audiences finding TV shows and movies to watch? How do they access hidden gems or titles they might have missed? How are they made aware of both fresh releases and newly-available long tail content? And how do they assess the value of their SVOD and pay-TV subscriptions? We asked these questions to

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Disney has played a long OTT game. Through the last decade, the company monetised established distribution channels and pay windows – cinema, DVD / TVOD / EST, SVOD, free-to-air – whilst continuing to make mass audience TV shows and movies. It acquired the Marvel and Star Wars universes and developed (or re-developed) both franchises into new recurring global revenue streams. And instead of relying on multiple technology vendors, it bought a majority stake in Bamtech

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Sweden – in common with its Scandinavian neighbours – has long led the OTT charge. SVT, the national broadcaster, launched its first VOD product, SVT Play, in 2007, HBO Nordic and Netflix have been active in the region since 2012, and Disney+ went live last month. Now, the country has a flourishing mix of broadcaster, operator, independent and SVOD-led OTT services, the highest penetration of streaming boxes and sticks in Europe and TV still reaches

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All the world seems to be moving to a subscription model – music, editorial, books, gaming, groceries and now even coffee (with Pret a Manger), furniture (with John Lewis) and cycling (with Brompton Bikes). And, of course, TV and movies. But as more film studios, cable channels and broadcasters launch their own D2C platforms, how many SVODs can consumers justify paying for out of their monthly entertainment budgets?

That’s a question we asked our panellists,

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As viewers increasingly shift from watching linear to OTT, piracy and content protection become ever more important topics of discussion for broadcasters, film studios, operators and service-providers. This isn't just an "interesting" conversation - one industry vendor, for example, told us that “In some countries, the scale of piracy is such that it matches the revenues of the local pay-TV market”. Commercially, strategically, and technically, content security is a big deal. 

That was

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Tim Davie started his new job as Director General of the BBC last week and amongst the many items in his in-tray will be what to do next with the BBC iPlayer. That was the focus of this OTT Question Time too where, together with Gulliver Smithers, CTO of RampRate and former VP Product Development at BBC Worldwide, Stuart Cleary, Chief Commercial Officer at Zattoo and Nathalie Lethbridge, Founder of Atonik Digital,

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At this week's OTT Question Time (Thursday 3rd September, 4pm UK) we talked Part 2 of how to build an OTT service from scratch. In the previous session we focused on first principles, backend strategy, building for where the audience is and using data to help make decisions and form KPIs. This time we switched to the front end where we discussed:

  • UI / UX across different OTT platforms
  • Content distribution to end-user devices; associated

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During this episode of OTT Question Time (filmed on Thursday 20th August 2020) we talked about how to build an OTT service from scratch. Sure, many of the biggest players already have suites of mature VOD products but the subject is still absolutely relevant for, amongst others, operators, film studios, sports rights holders, the automotive and aerospace verticals, content owners, publishers and brands. And even established broadcasters, who have legacy OTT systems, can dream

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Premium VOD isn’t exactly new (remember Tower Heist in 2011?) but this year’s lockdown may have accelerated a growing trend amongst film studios and content owners to test simultaneous cinema / OTT release or even go VOD-first. NBCUniversal’s Trolls World Tour, for example, has reportedly generated D2C sales of over $100m; AMC – the owner of Odeon Cinemas in the UK - has agreed that Universal films can stream on digital services after just

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VOD services all over the world are usually built using a toolkit of common features including content discovery and recommendation, personalisation tools (like recently watched, single sign-on and device synchronisation) and player controls (like live restart, forward ten seconds and subtitling / closed captions). In this episode of OTT Question Time we asked whether, with ubiquitous grid layouts and lots of familiar functionality across OTT products, the evolution of these user interfaces is now effectively