Michiel Bakker

Industry consolidation is a natural progression as sectors mature and face competition from alternative technologies. Learn more about this potential merger of US satellite heavyweights here https://lnkd.in/et6yXDAx IPTV is now the way to deliver channels and hence why we established United TV

23

Every company founder has a story to tell, and in the case of the Connected TV Marketing Association, there’s quite a tale to tell. In ‘Beam Me Up, The Future of Smart TV - Battle for Control' (Ch 7), I share with readers the 7 year legal battle and fight to control the CTVMA during the global streaming wars. For those of you who don’t know, there were over a hundred people involved in our foundation, and many of whom are prominent, well known, leading industry figures in entertainment, business, broadcasting, advertising and finance, who will all receive special mentions in my upcoming book #StreamingWars 💣

5

As our smart TV home screens gravitate to global viewing, it stands to reason that expanding the Geo-Block ban on the audio-visual sector must include expiration of regional licences and introduce one single content licence. Not just for Europe, but for every streaming territory as a whole. Although much can be said about content quotas, they are in fact near-sighted to the fact that technology and consumers are driving this demand because of the content choices audiences are making. Netflix features content in over 60 languages, with 80% of the platform’s users claiming to use subtitles at least once a week. This implies that content providers would be compelled to make movies and TV shows unlicensed in one country but sold in a neighbour available on the same streaming service on the same device in Amsterdam or Sydney. For those interested, 'Streaming Without Borders' is a panel topic at this year's Ad Forum event in Sydney. #CTV 🌏

8

1 Comment

Here at #TheBridge we consult with content creators and leading broadcasters/ streamers on new and innovative commercial routes to funding for TV, film and programming budgets. Where once long form, linear TV led the way, now gaming first-models are leading IP development and funding can be found in brand partners and VC investment before some commissioning editors come on board a project. As the television industry shifts from B2B to D2C there are multiple routes to audiences for content creators. If you are wondering how to bridge this new world, enter The Bridge Report. 🌉 This resource will serve as a compass for navigating the current turbulent waters of commercial growth for TV producers. It's not just data – it's a narrative of proven models working with producers and funding, programmes and commissions and eastern and western content markets. The report will delve into topics such as where and how to find funding for production budgets and how to work in increasingly global markets. The Bridge Report will provide actionable insights that can help you steer your own success through these choppy changes! Please get in touch if you'd like to know more. 💻🤝 Remember, knowledge isn't power until it's applied. #co-development #co-production #co-operation #content #tvproduction #productionindustry #finance #tv

33

4 Comments

In 2023, the new Dutch audio currency Nationaal Media Onderzoek (NMO) Listening was introduced to the market. This represented a big change in methodology from e-diary to passive electronic measurement using the MediaCell+ app on a smartphone. It brought more granular weekly data, which prompted agencies and advertisers to invest more in radio (+9% in 2023). In 2024, NMO took the next step in further developing the audio currency, and watermarking technology was added to audio-matching in the official audio figures. This ‘best of both worlds’ solution provides stakeholders with detailed (passive-measurement-driven) insight in consumption by platform, allowing accurate measurement of listeners’ transition from FM to DAB/IP. In addition, watermarking helped to remove all ambiguity around simulcast radio/TV broadcasts and has added on average 8% of listening time to what was already captured by audio-matching alone. In their presentation at the 2024 asi International Radio & Audio Conference in Venice, Yvette van den Berg of NMO (Nationaal Media Onderzoek) and Jerôme Schalkwijk Schalkwijk of Ipsos compared the two techniques and showed that combining different measurement technologies delivers the best results for the industry. Yvette and Jerome won this year’s prestigious Tony Twyman Award for best paper at the asi Radio & Audio Conference, kindly sponsored by dataBreeders. This is the second year in succession for NMO, having also won the award in 2023, and it’s the first time in the award’s history that the same company has won it in successive years. #measurement #audio #radio #audience #asiVenice24

28

3 Comments

CTV users access linear TV on home screens first with more broadcasting apps delivering BVOD with the targeting of digital highlights streaming first broadcast policy for VOD and FAST channels on smart TV devices

4

PAY TV MARKETING: The evolution of advanced features in the TV industry appears to run in circles. TV mosaics first appeared in the 1980s on a limited number of analogue cable systems as a way of showing what was currently on-air across a small selection of live channels. The arrival of digital TV set-top boxes with interactive capabilities in the late 1990s saw the mosaic concept applied to channel selection (e.g. Canal Satellite's Mosaique in France) and interactive sports (e.g. Sky Sports Active in the UK). with similar features being deployed by a number of other Pay TV businesses around the world. In most cases, anything from 4 to up to 20 live video thumbnails were composed onto a single broadcast channel. LEFT, RIGHT, UP and DOWN keys on the remote were used to move a highlight over the preferred video window, with the application switching to the correct audio channel as the highlight moved. By moving the highlight and then pressing OK, users could leave the mosaic and jump to a full-screen version of the selected channel without the need to memorise or enter logical channel numbers. And here we are again, more than 25 years later. This time, with streaming-based delivery, the video mosaic concept is no longer limited to a pre-determined channel group. Now viewers can build their own customised video mosaics selecting their preffered video sources. This can be seen today in the 'Multi-Live' feature of Canal Plus's TV Everywhere apps where viewers can build a custom mosaic of up to 4 live streams and at Kayo Sports in Australia where users can combine both live and on-demand sources into a custom view. More recently, YouTube TV in the US has made the 'Multi-View' feature a central element of its marketing NFL Sunday Ticket offer, providing live access to out-of-market NFL games. 'Every Game, Every Sunday, All in One Place'. It all feels very familiar! YouTube TV NFL Sunday Ticket, September 2024 #usa #youtubetv #vmvpd #mosaic #videomosaic #interactivetv #streamingvideo

8

So that's how we're helping the industry stream over cellular better by integrating a private 5G connectivity into our bonded cellular solution. Read more 👉 https://lttr.ai/AVZPC #5G #Celona #Haivision #VidOvation

6

1 Comment

Folks, If you wondering how to get your CI program started, then join Fouad Benyoub - his session will start shortly! You can also catch it later on via simulcast. join us free - https://vcapax.vfairs.com #competitiveintelligence

3

Very, very interesting... this could certainly open up a new window for learning and understanding of best practices for TV programming, branding, and ad-sales applied to streaming platforms... creating a new hybrid and innovative playground for decision making, content creation, AI incorporation, commissioning, programming, acquisitions, distribution, revenue generation and so on... Wonder what the "algorithm" is going to say:) The past is always a source of innovation for the present and future! So always look back but not in anger but with curiosity! Let's see what happens... #InnovationMCC

20

2 Comments

Game over #FAST and end of the road for #FASTChannels - https://lnkd.in/esS2e-Gu #ott #avod #adtech #amagi #wurl #aniview #cdn #ctv #streamingmedia #streamingtv #streaming #broadcasting #programmatic

10

3 Comments

📺 The Battle for Your TV Screen: The OS Wars! TVREV's latest report dives deep into the high-stakes world of smart TV operating systems. As streaming becomes dominant, control over the TV's interface is the next frontier. The stakes are HIGH – controlling the OS means dictating viewer interaction, gatekeeping content, reaping variable kinds of ad revenues, and harnessing viewer data. The OS Wars are being fought globally by three main groups: 1. Home Electronics Manufacturers (Samsung, LG, VIZIO) 2. Internet Giants (Google, Amazon, Apple) 3. Independent & local TV OS Makers (ZEASN's whaleOS, Xperi's TiVO) According to the report, what makes a great TV OS? Some 🔑 factors: 🔹 Responsiveness & speed 🔹 Natural language voice search 🔹 Personalized content discovery 🔹 Integration with smart home features 🔹 Innovative ad formats 👑 One thing is for sure: the company that can best navigate the complex landscape of content, data, and user experience will have a major advantage in the living room of the future. Download The Report 👉🏻 https://lnkd.in/ek8yTYAT #TVOSWars #StreamingWars #ConnectedTV #SmartTV #IPTV #Broadcast #Television

17

STREAMING BUNDLES: Is the cable box making a comeback!? Subscriber churn remains an issue for SVOD services – 42% of US streaming subscribers report that they “'regularly subscribe, cancel and resubscribe,” according to Ampere’s Media Consumer survey covering 1Q24. But bundling streaming services can have a significant impact on mitigating the issue. Ampere cites Disney subscribers as an example: Consumers who had previously churned and then returned to take the Disney+/Hulu/ESPN+ bundle are 59% less likely to churn within 12 months than those who take Disney+ alone, based on 1Q23 sign-ups. Ampere also found that US resubscribers skew younger (aged 18-44), are more likely to be in family households, and are typically avid media consumers. And with that wide media diet, the cohort is 40% more likely than average to exhibit signs of subscription fatigue and 21% more likely to desire unified access to content across different services. Which makes bundles, Ampere concludes, a key strategy in subscriber retention. The cable box is making a comeback! This time, it's on your mobile device$!

3

2 Comments

UK #tvindustry - Lulled into a sense of security? "According to Evan Shapīro older viewers are likely to stream less and use less social video, but they’re watching “substantially more” broadcaster than younger audiences. “They also make up a greater percentage of the population and viewing audience in the UK than they do in the US, and so, their habits influence total viewing in a disproportionate manner. But this will not last forever.” Shapiro’s theme is the pressure awaiting broadcasters as demographics change. There is a sizable gap in viewing habits for the populations over and under 35. Streaming is growing at its fastest among eldest UK viewers; and a simultaneous drop in #Broadcast and #paytv, even with viewers older than 35." The UK TV market is moving towards #digitalisation, with BBC talking about going 100% digital within 10 years. In a recent Omdia survey, BBC iPlayer ranked 2nd in the UK to Youtube, and ITV registered more views than Disney. So digitally, the UK market is making moves towards streaming. And yet, I think in a few years with the demographic shifts, #publicservicebroadcasters will see less viewing, and the sentimental feelings that older generations and millennials like myself feel for the wide variety of content probably will be diluted. We grew our attachment to BBC and other channels through watching them through #lineartv it doesn't feel the same to younger generations. How to make the switch to digital is one thing. How to keep that emotional connection is another. It's not even traditional global #svods that are the rivals anymore as the research points out "With Millennials and Gen Z, YouTube and TikTok now rank first and third, bookending Netflix, and ahead of all broadcasters and pay-TV providers. In the first half of 2024, for all audiences under 35, YouTube pulled in more viewing time than all the Broadcasters – combined." Now, it would be great to see how much TikTok and YouTube data was from the #psbs that would really give insight into the state of consumption. On guess though, I'd say it would be negligible. So, the strategy can't just be focused on competing with Netflix, Disney etc. but the giant #socialmedia and #videoplatforms This message isn't just for #broadcastmedia but one for the government, regulators and the #mediaindustry as a whole to see the new reality. I was also interested to see Shapiro describe the BBC as "the only reliable, global, independent English-language video news organisation on the planet" I actually believe that there other independent media organisations that are also as reliable. It doesn't take away from the fact that from an American point of view, it shows the value and impact the British public service broadcast news to provide impartial, factual news, rather than the hyper partisan echo-chambers the US is all to used to. #newsmedia #news #tv #television #mediaindustry https://lnkd.in/eqQV6P3P

11

2 Comments

🎉 BIG NEWS at IBC 2024! 🎉 We’re thrilled to unveil Zixi's latest ground-breaking features at IBC 2024! 🎉 💥 Live demos, hands-on experiences, and exclusive insights await you at Stand #5.A85! >Upstream Metadata Tracking Capture protocol metrics and system metrics from previous network hops. Helping to pinpoint where issues have been introduced.   >Reduced stream bitrate without transcoding on congested networks​ Dynamic bitrate adjusting without transcode, to suit available network bandwidth.   >Seamless switching between inputs Switching between streams in compressed IP without any disruption to output IP stream and downstream decoders.   >IDP Incident Prediction​ Increased accuracy of incident prediction, now highlighting incidents that will become “severe”.   >SCTE-224 / ESNI Schedule-based Switching​ Support for scheduling and program substitution switching via the SCTE-224 standard, also known as ESNI (Event Scheduling Notification Interface). Ideal for switching targets to an alternate Channel for alternate content or blackout   Alternate Path Switching ​ >Alternate Path configuration failover for disaster recovery, maintenance windows, multi-cloud environments etc and many more!   IBC 2024 (13-16 Sept) RAI Amsterdam, Hall Number 5, Stand A.85 Stream without limits, broadcast without boundaries ONLY with Zixi!

36

1 Comment

I speak to so many professionals who seem to see media in terms of "traditional" and "digital" - just the two piles where one is sort of quaint, and the is super-rad and cool and the future. The truth is that humans are complicated and consume what they like, and more choice gives more options, but not necessarily replacement behaviours. Radio is the original social medium, has been a digital medium for 25 years now, and the personalities and brands that drive commercial radio are still amongst the most trusted in their respective markets. Wonder why? Jason Brownlee will explain

3

YouTube Is a $455 Billion Media Giant Hiding in Plain Sight * Potential value may eclipse streaming peers such as Netflix * Separating part of YouTube could boost Google shares: Needham YouTube has a dominant and growing share in streaming, as consumers shift away from broadcast and cable Investors attach a $2.3 trillion valuation to Alphabet Inc. for its status as an internet search behemoth and AI innovator. Yet even that massive figure underplays YouTube’s true worth, according to analysts at Needham & Co. The streaming unit is one of the world’s most valuable media companies and worth at least $455 billion on its own, Needham’s Laura Martin and Dan Medina wrote in a July 3 note. That’s more than 50% above Netflix Inc.’s market cap. https://lnkd.in/eesPngKJ

8

2 Comments

Cinematics are DEAD. Long live TVMatics We accidentally invented a new genre of entertainment. (Spoiler: it’s nothing to do with AI) TLDR: TVmatics are TV shows delivered inside game engines.  They’re a new genre of game engine content developed by BasedAF that complement cinematics and trailers in the stack. Designed to deliver the freshness and immediacy of television formats natively to the world they’re deployed in. Leveraging real-time rendering and high quality performance capture they can be produced at the speed modern audiences demand. Think Top Gear, but set in Borderlands. Or Who wants to be a millionaire in Fallout with bottle caps as prizes. We’re talking casual, unscripted, reality, factual entertainment, game shows, quiz shows. All possible inside video games or indeed anything made in 3D. And able to take advantage of everything the engine can offer in terms of logic and programming. So… you’re probably thinking this is going to be insanely expensive not to mention involve lengthy timelines. Nope. We can write, shoot, edit and publish a 15 minute magazine show in just a single day. But how? Because this ISN’T animation. It’s live action in 3D. It’s only possible if you fully (and I mean fully) embrace Unreal’s real-time capabilities. You can radically expand the scope and value of everything you’re ALREADY creating in your game world, your virtual production sets, your digital fashion studio. But why? It used to be that cinematic content was a rarity. It was the pinnacle of the artform because only the most skilled practitioners and best-funded projects could pull it off. hashtag#AI has changed all that. In fact, you could almost say the cinema look/feel has become a commodity. At the same time we have TikToks with creators just filming themselves on a phone. Relatable and authentic. This is the digital version. The Advantages Speed of production - we do everything in real-time which means we rip through setups Leverage existing assets - we build with assets you’ve already created Serendipity - sometimes stuff just happens and you didn’t plan it and it’s amazing Game Logic - we shoot content that feels like TV then add magic on top using the powers of the engine Relatability - characters feel grounded and driven by authentic human performance Responsiveness - somebody hits a high score, shout em out from within the game. This is true transmedia TV formats are proven - you don’t have to reinvent the wheel. Take a format that works, tweak it and you’re good to go. Use Cases In-game TV channels/shows - game shows, fac ent, news, dating, reality, talkshows, QVC Marketing materials/trailers - i.e. behind the scenes of digital sets, junkets with digital characters Episodic game content - i.e. what characters do on their day off Virtual influencers/streamers - i.e. Emma Chamberlain but fully digital Thanks to Unreal Engine almost anything is possible here. So give us a call and see if you can scare us with your ideas.

77

16 Comments