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
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
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
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
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
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?
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.
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,
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
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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