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Digital content briefing_tour_may2010
- 1. May 2010 Tour Briefing Creative and Media Overview Tony Hughes Tony Hughes, May 2010
- 7. Film Connected services 09/06/10
- 8. Film Monetising Media 09/06/10
- 9. Games Increasing size and scope of consumer base
- 11. Publishing Digital distribution 09/06/10
- 13. Referred by a friend on Facebook Checked out the official site Television Interactive broadcasting Watched the show Search beyond official site fan-sites, Wikipedia Downloaded samples Inspires further net ‘research’ Spreads the word to others via Facebook Who watch & feed back
- 32. Availability of selected mobile services 09/06/10
- 33. UK market developments Mobile Internet Use 09/06/10
- 37. Case Studies/Testimonials 09/06/10 09/06/10 ‘ UKTI have been an invaluable source of industry contacts and connections, as well as helping me investigate Investment opportunities in the UK.’ Tom St John, CEO, Kontexto ‘ The UK is the gateway, and most important market Europe. If it succeeds here, it trickles elsewhere’ David Yarnton, UK General Manager – Nintendo UK "UKTI's support has been invaluable in helping Sohu Games establish ChangYou.com in the UK and gaining an appreciation of the market and potential partners. For creative content companies it is always difficult to enter new territories and UKTI have enabled us to speed up our progress and rightly inform our decision making. ” Aileen Yang, UK General Manager – ChangYou.com ‘ The UK games development industry has many of the most experienced game designers, programmers and artists in Europe. From the first tentative steps of "Bedroom" developers to today's cross-pollination with the UK Film Industry, there is an incredibly strong development tradition’ Colin Robinson, Vice President - EA Partners Europe
- 38. Thank you! tony.hughes@pera.com [email_address] August 2009
Hinweis der Redaktion
- UK creative industries currently contribute 6.2% to the British economy and are set to grow at more than 4% per annum over the next five years, employing 1.3 million people. These companies are competing in a worldwide market in creative industries worth around 7% of global GDP.
- Interactive TV – both cross platform projects and more sophisticated use of old red button services – working with brands and advertising agencies. In the UK BBC leading the way due to its size, resources and remit (push for Digital Switchover) with the iPlayer across platforms (Mobile, Console, TV and PC) also with Project Canvass (also incorporating BT, Two Way TV and other TV channels) – and now BBC research focus on interplay between the devices in the home – linked screens extending the reach and depth of programmes Honda TV – example of use of platform for targeted marketing History Channel – working with creative agency in london to sell through its programmes from TV to PC internet Social Media – the idea of create and share that underpins the growth of social media (likes of FB and Twitter) is being harnessed by the agencies for brands such as Nike – campaigns particularly targetting younger digital natives who spread the message virally Behaviourial Targeting – not just tracking how consumers browse through the internet but also in the sense of cross marketing – e.g. The use of mastercard data and lonely planet guide info channelled to users in particular destinations across the world (Quid pro quo arrangement) Measurement tools – for the use of the internet and applications across fixed and mobile devices – all important in persuading the advertising money to back new content across emerging technologies
- Digital Distribution – The success of online video on sites like YouTube (2bn views a day) is gradually been viewed less of a threat and more of an opportunity for professionally made content. Most of the YouTube downloads are professional content – more companies doing deals with YouTube to distribute their content. For film its opportunities are being realised as both marketing and distribution of content – the experience of the theatre is still distinct from the viewing on a laptop or even TV. Interactive Broadcasting – more pay per view options to give films more energy in the “long tail” and potential with clever marketing more audience for niche films. Micropayments – in terms of financing films – but in this sense of customers paying for films online – through sites like Blockbuster or Flixter. Also more potential there in mash-up content aimed at niche audiences with other content/publishers portals...?
- Digital Distribution – Move from packaged goods to digital distribution and online, connected gaming (consoles plugging into TV and internet – whether on fixed or mobile). Interactive Broadcasting – games available through the set top box more varied and sophisticated as the devices and network improves though still limited by interface and lack of design know how on design and interaction Proliferation of devices – Key ones are still console but more so PC and mobile gaming with larger games companies as well as media corporation seeking diversify their IP across many devices (ubiquitous gaming) Social Media – Platforms such as Facebook are developing into the worlds largest gaming platforms due to the reach and stickiness of their sites (22m in UK on fixed and 6m on mobile – leading site). Type of gaming is different to the traditional market as the demographic and play context differs – shorter, dipping in and out and boarder demographic – more social and collaborative in nature Micropayments – the ability to charge (through multiple payment mechanisms and trusted sites) means games can more easily monetise their content through smaller transactions – helping smaller games companies to build consumer base
- Digital Distribution - Mobile is tipped to drive the next wave of innovation, with more sophisticated location-specific and personalised information and entertainment Social Media - The next wave of digital-driven innovation in live music is expected to be social: recommending events and sharing music-related content Micropayments – Customer trend from album purchases to single tracks with labels and bands looking to build on to their existing fan base with incentivised schemes online and broadening their brand across other sites and devices Measurement tools and tracking – UK is the largest consumer market for music downloads in EU and music industry needs tools to track an increasing diffuse and connected consumer base
- Digital Distribution – greater capacity both on fixed and mobile internet to access and download content – whether for news/magazines or books – newspaper sites such as the Guardian increasing looking to monetise their content on digital platforms (eg. Recent iphone paid app had 100,000 downloads in one month) Proliferation of devices – eReaders, mobile phones, iPad as well as laptops and fixed PCs – not the end of the physical product but new business models emerging with consumer habits changing Micropayments – exploring the flexibility of online payments for editions, article searches, subscriptions real time measurement tools – need to keep advertisers on side with measurement tools and analysis of audience data social media – all important medium through which to maintain and grow customer base – whether its indirect use through FB or direct social media tools to enagage and keep audience on their site. Book publishers like penguin are increasingly proactive in pushing writers and works through social media means and encouraging discussion with and between readers (Clay Shirky comments....)
- interactive broadcasting – with digital switchover - greater bandwidth for enhanced or niche players in the market proliferation of devices – more apps on mobile phones for eg, to enable audience to tune in wherever they are Micropayments – little as yet exploited use with radio due to dominance of BBC though they are cutting back on more popular media stations to not hinder commercial market development measurement tools – advertisers need to see ROI Social media – advertising means?? Need some more egs’ here other than the mobile apps to suggest the space for radio is not redundant – remember the radio company that came in through Brain Shaw??
- interactive broadcasting – extend life of programme content and potential revenue links proliferation of devices – connected experience (as diagram indicates) Micropayments – Hulu, iplayer, 4OD, other platforms measurement tools – improving social media – referral and promo Appeal is the subject ’ s potential to extend beyond TV format Music has found a natural home on-line – a great way to discover and sample music new to the listener As such makes perfect sense for BBC to create an ‘ encyclopaedic ’ resource such as this Site especially good at providing a ‘ map ’ for new musical horizons The ability to upload key clips from the show is appealing as a concept Though clearly dependent on personal interest Taps into the need for users of Facebook (et al) to create their personal iconography Clips can ‘ reveal ’ who you are in a dynamic way In this case clips ’ branding is clear – credit goes to BBC BBC seen to enable this facility – a progressive step The ‘ time-line ’ especially appreciated
- Client interest in social media and their use of it for a range of marketing activities is a fast-growing trend This is fuelling a rise in the number of digital agencies claiming to specialise in social media marketing Social media will remain a key channel but one that goes well beyond the relatively narrow realms of Facebook and Twitter. And whatever type of agency ultimately comes out on top, it’ll be one that’s best able to keep pace with this change. Some have been concentrating on a pure production focus for some time, such as ClickTag, Specialmoves and Unit9. If these agencies take on work for other agencies, it’s usually under a non-disclosure agreement, but others are upfront about the connection. Pirata, for example, was set up with the backing of Work Club, while London-based Dare launched its own production division, Dare West, in Bristol last month with six staff. Meanwhile new UK branches of established European production specialists, such as B-Reel from Sweden and MediaMonks from the Netherlands, are setting up shop. The move is being driven by client demand, by agencies that have been burned by experiences with overseas outsourcing, using freelance staff and, to a certain degree, by a nerdier element in the digital marketing industry that’s dedicated to the craft of production.
- Over 3.1bn views makes UK users biggest watchers of online video New survey found 27.4m UK users watched an average of 127.7 videos each, putting the UK ahead of the US, Canada, France and Germany. YouTube continues to dominate the space. Of all online video watched in April, 48.2% (1.53bn videos) were on Google-owned sites. YouTube accounts for 99% of these views Rival online video providers like the BBC and Facebook have begun to increase their market share, though. The BBC has increased its unique users from 5m in November to more than 6.2m in April, driven by the iPlayer. Facebook has also increased the number of visitors who use the site to watch video from 1.14m in November to over 1.59m. A survey last year by CSS Insight has found that a third of UK teens want to access the BBC's iPlayer on their phones. Blinkbox has launched its first movie streaming service for the Sony PlayStation 3 in the UK. Console owners can, from today, stream up to 6,000 movie and TV titles, including box office hits such as Avatar and The Hangover. Later this month movies such as Sherlock Holmes and Up In The Air will be available, along with US TV series Gossip Girl, Heroes,and 30 Rock. The move was triggered by the increasing number of UK visitors to the Blinkbox movie streaming site, topping 1m unique monthly users, and a growth in requests from PS3-owning Blinkbox users for their own version. According to Skillset Animation companies provide employment for around 4,700 in the UK
- Channel 4 Education is to harness games consoles as a core channel to reach teenagers in the next phase of its multi-million-pound online education strategy. The broadcaster has singled out Microsoft’s Xbox, and in particular its Indie games channel on Xbox Live, as a vital platform to engage with teenagers. It’s planning to launch its first educational content on the console this year.
- Absolute Radio (India) is to launch a further digital station, Absolute 90s, in a bid to increase its reach. The station will play music from the likes of Blur, Oasis, Texas, Lenny Kravitz, Beautiful South and Sheryl Crow, and will be available on the London DAB network from June. The broadcaster’s 1980s-music station, which launched in December on London DAB and online ( nma.co.uk 3 November 2009 ) will go on national DAB from today (14 May).
- The sector is made up of from the printed word to online and contains a diverse group of industries including: Books, Directories and Databases, Journals, Magazines and Business Media, Newspapers and News Agencies. The future of the publishing industry appears strong. New forms of content are appearing and evolving the need to deliver content in whatever form and via whatever channel the customer wants, despite the background of a challenging business environment.
- Digital listening has also increased its reach, with 19.7m people listening via a digital device each week, up 15% in the past year. Listening to the radio via mobile devices has remained steady, at 12.6% of adults in Q1 2010. According to Rajar, younger people are more likely to access radio in this way, as 30.4% of 15-24-year-olds have listened to the radio via their mobile phone.
- Some recent company examples I’ve been involved with: Kontexto Sohu Bravo Games company Demand Media Absolute Radio Spotify Little Airplane Disney Turner Square Enix NC Soft E4E DeNA Konami
- Iplayer and likes of Hulu (commercial players) coming into market to extend reach of TV product BBC: Increasing total BBC spend to more than £1billion Locating 50% of BBC staff outside London Moving at least 20% commissioning outside London
- SHARE - New ways of finding content – blogs, social networks, you tube
- PLAY - New ways of broadcasting
- Jelli has one of the more interesting and feasible business models related to music around Silicon Valley. It allows listeners to “take over” a radio station and collaboratively create playlists. It’s more interactive than a Top 40 or Total Request Live type of format. There are game mechanics that award Jelli listeners the ability to “rocket” song choices to the top or bomb choices that are bad. The benefit of going with traditional radio stations, and not the online route like Pandora, is that old media properties don’t have to pay the same kinds of onerous royalties that Internet radio stations do. Traditional radio also has a more established advertising network; CBS’ radio properties for example, bring in just over $1 billion in revenue annually. Jelli first started doing tests with CBS’ rock station LIVE 105 in San Francisco; it worked so well that the company expanded to six nights a week. The company has also signed with Triton Media to launch across the U.S.
- Overall: Increasing transparency of mobile packages Improved and bespoke mobile internet sites Content has improved and is more relevant to the platform Improvement in quality of mobile devices (processes, interface, navigation) UK: Largest Wi-Fi deployment in Western Europe 3G and further roll out of HSPDA UK content production accounts for more than 6% of UK gross value, the equivalent in scale to the financial industry UK users with a smart phone spend about £41 a month on their bill, more than double the average The UK is the largest individual mobile music market in research company eMarketer's EU-5 grouping of countries. It predicts mobile music retail revenues in the five EU countries will reach $1.4bn (£703m) by 2012 Mobile music downloads are up 21% year on year for last couple of months (GfK, 2009) Orange Mobile Music saw an increase in traffic of 10.5% since the last Digital Media Index in Jan 08, with 300,014 tracks downloaded in September 2008. ComScore has released a study in March 2010 of the Smartphone market in Europe showing that Smartphone adoption in the EU5 (U.K., France, Germany, Spain, Italy) has grown 32 percent versus a year ago to 51.6 million subscribers. The U.K. market strongly leads in growth of Smartphone adoption over the past year, growing 70 percent to more than 11 million subscribers
- brands have been weak because the primary way to spread apps is through friend recommendations. This week, the company announced that EA Playfish would launch FIFA Superstars, a new Facebook game that taps the brand of EA’s cash-cow soccer game franchise. DeHalleux believes it will be possible to create a billion-dollar game on Facebook . EA is putting one of its best franchises on it. It’s a billion-dollar franchise already. FIFA 10 sold more than 10 million units at $60. It’s our way of saying to the world that the Facebook ecosystem is valid. It will create a long-term opportunity. We think Facebook can deliver a billion-dollar hit on the scale of the film Avatar. It’s early days, but we’re serious about it. The World Cup is happening very soon, and the last one drew the attention of more than 750 million people. An event of that magnitude is ideal for us. it could help distribute value down the chain. In a healthy ecosystem, platform holders are aligned with publisher interests. The biggest promise Facebook Credits can deliver is liquidity on the platform. That means more people will spend. Today, on Facebook, the number of spenders is small compared to the number of active users. Compare that to casual game platforms where the number is 10 percent or more. We are very very far from that. Facebook Credits could create a more frictionless environment for users. We believe users should be able to choose what is most convenient for them. Connected/always on attitude of consumers: The popularity and broad demographic appeal of social media networks in the UK has led to more people remaining online and connected throughout the day, at home or at work. Facebook has widened its list of recommended agencies developing tools and apps for the social network. Its has expanded from 15 to 50 across 15 countries and the UK has gone from having 2 to 9 agencies listed. The original 2 included London-based iPlatform. Others.... broadening demographics/smaller, disposable games for cheaper but more numbers/ easier access to worldwide distribution platform
- The UK has high mobile subscription rates, with approximately 1.3 active subscriptions per person in the UK and roughly one third of the population accessing 3G services on a regular basis (ii). There is an increasing trend for subscribers entering into contracts with mobile operators, as flat rate data billing is encouraging more people to spend time on rich media applications on their mobile phones. The entrance of more mobile virtual network operators (MVNOs), now with 13% of the market (iii), has seen mobile tariffs decrease as the competition increases amongst the operators. This is another contributing factor that is empowering the UK consumer to take control of their mobile phone charges. The introduction of apps stores has provided an easy to use interface and better quality games for consumers to access and play on their mobile phones. Possibly the key driving factor behind the success of games on mobile phones is the improvement of the devices. Much of the mass consumer market has been led towards adoption of smartphones in the UK from the introduction of the Iphone in 2007. Until the latter part of 2009 the Iphone was only available through one of the main 5 network operators, O2. Since then, with the merger of Orange and T-Mobile in the UK, 4 of the 5 major network operators are selling the Iphone, in addition to Tesco – one of the growing number of MNVOs in the UK. O2 has sold over 2 million iPhones in the UK (i) . In January during the first week of the iPhone’s launch on Vodafone UK over 100,000 iPhones were sold and 50,000 were pre-ordered before it had even launched. Tesco and Orange have not yet provided up to date figures so it’s impossible to get an exact total for the UK, however it is a safe bet to say that total UK sales are between 2.25m and 2.5m iphones. There are no demographics available for the device and it appears that the operators are not measuring this. However reports from Comscore and annecdotally suggests that they ownership is concentrated in the 20-40 yrs age range, and generally middle to higher incomes. Although it is available on pay as you go, most users are on subscription packages. A mixture of both cost and functions suggests that the iphone does not appeal to a younger age demographic .