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At OTT Question Time this week (Thursday 14 January, 4pm UK), we’re ringing in 2021 with some industry predictions for the year ahead. Together with renowned analysts Allan McLennan of PADEM Media Group, Maria Rua Aguete of OMDIA, Simon Murray of Digital TV Research and Tony Maroulis of Ampere Analysis we’ll discuss:

  • The upcoming launches (or international rollouts) of new SVODs like Peacock and HBO Max
  • The prospects for the incumbent streamers like Netflix, Amazon

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What would 2020 have been like for the OTT industry if there had never been a pandemic? In many ways it might have been business as usual: VOD viewing - compared to linear - would have gently increased along with addressability and AVOD revenues. Disney+ and Peacock would still have launched. Quibi might have been a success. And PVOD may have remained a greyed-out item on executive wish lists - desirable but with little likelihood

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How do you know how many people have watched a title on your OTT service? How do you know how much of the show they watched? Whether they switched off after six minutes or enjoyed it so much that they immediately binged through the rest of the season? What content should you recommend they try next? And can you infer (if not measure outright) how highly your subscribers value your catalogue or if they're about

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It's been nearly two months since ITV launched its new addressable advertising platform, Planet V, and at this week's OTT Question Time (Thursday 26 Nov) one of the architects of the service, Rhys McLachlan, joined our panel. Together with Leon Siotis, President EMEA of SpotX and John Tigg, VP & Managing Director, EMEA at Cadent, we talked all things addressable including:

  • The different flavours of addressable TV advertising
  • The size of the

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We've undoubtedly been living in a golden age of television. The number of original scripted series in the USA has more than doubled since 2010 (from 216 to 532 in 2019). The range of platforms we can watch on - both in terms of hardware (TVs, phones, tablets) and services (like Netflix, Amazon Prime, BBC iPlayer) - has massively expanded over the same period. Content production budgets have increased, consumers are spending more on subscriptions

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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

Reporting from the Future of Television

VOD Professional contains news, reviews, interviews and analyses from the future of TV. Online video is at a pivotal moment in its evolution and our focus is on writing about monetisation, product development and the people – from service-providers and vendors alike – who help bring brilliant content and services to our screens.

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