In 2016, media convergence will continue to be the theme of the development of global television media. Online streaming media, video websites, and social networks are on the rise, and traditional television media continue to innovate program content, update technological means, and expand media channels. We are actively embracing various changes in the media ecology. Through the aggregation of industry information, observe the ten possible trends in the world TV development in 2016.
Trend-per-view TV viewing per capita continues to stay at a high level, and sales of smart TVs have increased significantly
With respect to the ratings of more than 6,300 TV channels in more than 100 countries and regions in 2014, viewership per viewer averages 3 hours and 13 minutes per day, which is only one minute less than in 2013.
The maintenance of this high level reaffirms the importance of television content to a certain extent. It also shows that digital transformation not only affects the audience’s viewing behavior, but also stimulates the strategy of television channels, and it also promotes the continuous updating of the media ecosystem. To further meet the changing needs of audience ratings.
Although the use of digital mobile terminals such as tablet PCs and smart phones is becoming more and more popular in the audience, the choice of TV terminals has not been subjected to cold encounters due to the development of new media. However, due to the increasing consumption of TV program content by audiences, TV terminals The change has become the most iconic embodiment.
Whether it is a large-scale sports event or a major news event, or a large-scale production of television series, the audience is more inclined to select the TV screen to watch.
In 2014, television sales in major European countries increased slightly compared to 2013, reaching 29.8 million units. Among them, 43% of televisions are smart TVs that can access the Internet, an increase of 6 percentage points from 2013. [1]
In the United Kingdom, sales of smart TVs increased significantly in 2014, rising by 16 percentage points in one year and accounting for 48% of all television sales.
Although television is still the main terminal for audiences to watch TV programs, the continuous development and progress of other terminals cannot be ignored. These devices provide more diversified channel choices for watching TV content.
In major European countries, sales of tablet PCs and smart phones have remained at a relatively high level. 50% of the country’s device penetration rate is owned by smartphones and 20% are owned by tablet PCs. However, as smartphone sales increase, The preemption of the market for large-screen smart phones will have a certain degree of impact on the sales volume of tablet computers. [2]
At the same time, Rob Gallagher, an analyst at OVUM Consulting, also pointed out that in 2016, direct-to-consumer (D2C) television will be bustling. For example, HBO, DisneyLife, and some other apps will develop D2C subscription services through new mediation services, such as packaged offers from network companies or telecom operators, which to some extent replace the traditional traditional TV subscription service. [3]
Trend 2
The degree of attention of time-lapse viewing has increased significantly. Changes in viewing experience affect audiences' choice of services.
Globally, more and more viewers watch TV programs on a time-shift or on-demand basis, and viewership data gradually incorporates these new users into their income.
In 2014, Eurodata TV published the Global TV Annual Report which mentioned that 26 countries provided time-lapse viewing data, an increase of 3 from the previous year, indicating that more countries have played a role in time-lapse TV ratings data. More and more attention. The 9th edition of the Digital Democracy Survey published by the American company Deloitte pointed out that the proportion of people watching the TV content in the United States is 53%, which has exceeded the proportion of viewers who watch 45% of live TV programs. [4]
In the 2014 US Total Video Report, ComScore of the United States mentioned that young Americans are more inclined to watch TV. In the age group, 46% of the younger audience aged 18-34 chose to use time-shifting, while only 35% of 35-45-year-old audiences were time-shifted, while those aged 55 and above watched TV-shifted. Only 30%. [5]
When Hub Entertainment Research asked audiences to watch the reasons for shifting television, it was found that the reasons for the top three choices were: 60% of respondents indicated that they could choose to watch TV at their convenience; 37% of respondents stated that Because you can watch missed TV shows; 37% of respondents said they can omit advertising. [6]
The Deloitte report also pointed out that another time-lapse view of the new trend “binge-watching†(watching a large number of TV shows in a row) shows that 68% of survey users use this method to watch TV. The program, and 31% of users said that at least once a week will use "brush drama." [7]
The data also show that this way of viewing is most prominent when watching TV shows, as Gerald Belson, vice president of Deloitte, said: “The personal viewing experience and ability to consume media at their own pace are significantly affecting how American consumers evaluate their use. Equipment and enjoyment of service."
Capitol Communicator also mentioned in its 2016 hot trend that today’s viewers will continue to develop their own TV shows they wish to watch through time-shifting content. Explain that the audience's role in passive viewing of traditional television is undergoing tremendous changes.
Trend III
IPTV further expands market penetration, OTT expands high-quality content services
Point Topic's data for the second quarter of 2015 pointed out that the number of global IPTV subscribers has reached 123 million. Although the growth rate has slowed down from the first quarter, the net growth of 4.37 million subscribers has also been the second highest since 2014.
In the distribution of IPTV subscribers' market share in various regions of the world, East Asia is far ahead, with 47.4% ranking first, shielding keywords and Europe (other countries except Eastern Europe) ranking second and third. [8]
Shielded key words and European IPTV development benefited from the deployment of the optical fiber broadband industry. The United States, the Netherlands, Germany, Spain and other countries actively promote the deployment of digital high-speed networks, and 100 megabytes of Internet-speed broadband coverage is relatively wide. This is IPTV, Video service users such as OTT provide a great viewing experience.
For the OTT market, high-quality content services have become an effective way for its development. US investigation companies Vindicia and Ooyala stated that in the next few years, the US OTT video market will continue to develop, and it is estimated that in 2018, the US OTT market's revenue will exceed 8 billion US dollars.
Under the joint promotion of investment, demand and competition, relying on the continuous improvement of the network environment, the development of non-linear services for video viewing is deepening, and the demand of consumers for high-quality OTT services will continue to increase.
In 2015, Dutch TV announced that it had reached a cooperation agreement with HBO to add HBO content to the OTT service they provided. This service was named “Play†and it aims to attract OTT users and young audiences.
From this perspective, the coverage of global IPTV and OTT services is more and more extensive, and the service methods are gradually diversified. The convenient non-linear viewing service makes people's viewing choices more flexible, and video consumption will steadily move forward.
Content services will attract new video-centric consumers, while cloud-based business exploration will also add more different profit models to digital services.
In 2016, the coverage of global IPTV and OTT services will be further expanded and deepened, and the service methods will be gradually diversified. The convenient non-linear viewing services will make people's viewing choices more flexible and video consumption will steadily move forward.
Trend four
4K HDTV technology is gradually promoted, developed countries actively follow up on the corresponding channels and content
According to Quzhi's consulting data, worldwide shipments of 4K LCD TV panels reached 11.34 million in the third quarter of 2015, a 3% increase from the previous quarter, and the 4K panel penetration rate increased to 17% in the third quarter. [9]
From standard-definition to high-definition and 4K ultra-high-definition, the gradual evolution of television screen resolution has driven the upgrading of television equipment, and has also affected the production of content and audience viewing experience.
In 2015, most developed countries provided more high-quality content to match the high-performance 4K TVs in the context of the gradual promotion of 4K TVs.
Since the first broadcasting of 4K programs in 2014, Japan’s exploration in the 4K field has been in a leading position. Several major broadcast companies, TV manufacturers, and communication companies have also formed a consortium to pilot a 4K format program to national audiences, and the Japanese plan The official 4K broadcasting was implemented in 2016 and it is intended to be widely promoted in TV signal production at the 2020 Tokyo Olympic Games.
France Telecom and Italian broadcast company Mediaset have stated that they will launch a pilot service for 4K TV channels by the end of 2015. In France, they mainly provide music and entertainment 4K TV programs to meet viewers’ viewing needs, and will be completely free of charge; while Italy will mainly play In some movies, Vodafone Italy also plans to launch 4K TV service in 2016.
In 2015, the Dutch Coast Media Group also launched a 4K TV channel, which mainly brought music and theatrical performances. It is currently broadcasted for 6 hours daily and is planned to expand to 12 hours per day in 2016 until 24 hours in 2017. All-weather ultra-high definition broadcast.
On the hardware side, Sony will support HDR (High Dynamic Range Image) through firmware upgrade in its multiple 2015 4K UHD TVs. This will not only improve the color performance of the screen, but will also upgrade the viewing experience of the audience; of course, Sony is also actively collaborating with Amazon Amazon Video. 4K device users can obtain a small portion of the rights to use HDR content from Amazon, which also lays the foundation for future content provider cooperation with paid content.
The Consumer Electronics Association of the United States also plans to promote brand-new 4K certification marks on 4K devices so that consumers can feel more comfortable buying their favorite 4K devices.
The advancement of technology has led to the follow-up of content products. The audience is the beneficiary of this, and the high-quality picture and gradually rich matching content have further upgraded the audio-visual feast.
Trend five
Global TV show market has frequent masterpieces, game and entertainment program cross-border innovation
In 2015, global TV programming innovations continued to be done with great success. In particular, most countries have conducted in-depth excavations in challenging self-limits and publishing truth, breaking taboos and other programs, and have achieved impressive ratings.
According to the characteristics provided by Eurodata TV's latest publication of the 2015-2016 international TV program development trend report, the content innovation of TV programs in 2016 is outstanding in the following two aspects.
· On the one hand, the subject of suspense to be used by film and television works by “you have been watched†will be borrowed from multiple television programs in 2016 to produce different types of works.
For example, Sweden launched a 90-minute week-long game competition program RUN! in the second half of 2015. This is a real-time interactive hunt game in which 10 pairs of contestants need to escape from the hounds (stars) of Sweden throughout the eight weeks.
Every day they have to accept a challenge in a different city, and at the same time make sure that they are not caught up by the "hounds" chased after.
Each pair of contestants has a video camera and the audience can watch it online. The "hound" must use the camera to photograph the people who are being chased after they are caught. The audience can choose to help or deliberately mislead the "fugitives."
Each weekend, there will be a group of players who will change their status as "hounds," bringing viewers a thrilling hunt. In the end, only one group of players can bring the award home.
· Another aspect is "to be true to yourself on the TV screen." This element that was originally a documentary program was used by variety shows to play a different entertainment spirit than calm and realistic.
For example, in Belgium in the second half of 2015, BE YOU, a 60-minute week-long television magazine show, was launched. This program has only one topic: women and their bodies.
On the show, famous Flemish female artists will invite their sisters to the show to pay tribute to the woman's body. Be You has a total of five episodes. Each episode is hosted by a pair of famous sisters. Each episode has a different theme: chest, hips, legs, abdomen and face. At the beginning of the show, the host introduced the topic from the results of a large-scale investigation.
These results relate to the various personal problems of these Flemish women, such as their size, their habits, beauty procedures and uneasiness in creating a Flemish woman image, how long she will spend on body care, and her How does the self feel, etc., show the audience their true self while giving the audience a resonance.
Trend Six
TV dramas have performed outstandingly in the global market. Suspense and horror have continued to lead the trend.
The data company Eurodata brought together the top 10 shows in 2014 in 67 countries and regions around the world. The results showed that TV dramas ranked the first in 18 categories with a gravity ratio of 25.2%, and the news programs ranked first in 2014. The type of programming most favored by the global television audience. [10]
Audience and market recognition of TV dramas are closely related to the excellence of content innovation in the field. There is no shortage of excellent TV dramas on the TV screen in 2015, and will continue to lead the development of the global repertoire market in 2016.
Conspiracy, trickery, corruption... These elements of suspense are precisely the source of inspiration for the 2015-2016 fall season hit TV series. Television stations and production companies have used the sensational real events to create a special virtual scene that allows viewers to peek into the secrets of political and economic systems that are not available on weekdays.
For example, the super giant Panthers, which was jointly created by France, Britain, and the United States, was adapted from the infamous Balkan jewelry thief "Pink Panther" case. The synopsis of the story begins between gangsters and corrupt bankers and follows a sensational diamond robbery.
The depiction of crimes and dark forces is undoubtedly the most eye-catching aspect of the play. At the same time, this excellent TV series has also gained wide international appeal. In addition to the Canal + premiere in France, the show will also be introduced into overseas markets such as the United Kingdom, the United States, Ireland, Italy, Germany, and Austria, setting off an upsurge in ratings in the coming year.
In addition, on TV screens from 2015 to 2016, there are many episodes featuring the theme of changing the face and starting a new life.
The Swedish horror drama ngelby and Australian light comedy 800 words invariably selected a similar perspective. The former represented a woman who had just experienced marriage and career change and moved to the town to come back. The latter described a widowed one. How did his father migrate to live overseas with his two children?
For similar story topics, the two dramas are presented in completely different surprises and comedy manners, which not only enriches the dimension and level of television drama creation, but also brings a diverse viewing experience to the global television audience.
Trend seven
TV subscription model is threatened, paid content has driven video site development
With the development of the industry, the audience has more demand for high-quality, original programs, and many new video media meet the increasing viewing needs of users through flexible, on-demand viewing, and OTT services are undoubtedly It is one of the best ways to provide this kind of consumption.
This will help explain how the penetration rate of screened keyword subscription TVs is expected to fall from 79.8% in 2012 to 78.1% in 2016. [11]
On the other hand, in terms of TV subscriptions, the market tends to be saturated. It is estimated that global television subscription revenue will reach US$243.8 billion by 2019, but growth rates in markets such as the United States, Canada, and France will slow down, even outside Western Europe and blocking keywords. The same is true of countries with growth potential. [12]
The British Broadcasting Corporation (BBC) launched a paid download service on the BBC Store, which went live in 2015. The “content store†charges subscribers with digital program download services in a single episode or a whole series.
BBC's program is still free for 30 days after its first broadcast on its new media platform BBC iplayer. The opening of the BBCStore adds a new option for user viewing.
In the highly competitive streaming media content market, Netflix plans to increase investment in original TV dramas in 2016; the old video website YouTube also intends to expand its profit channel to the content field, and they hope to have a powerful original content database and television and movie screening rights. In order to fight Netflix and Amazon's competition.
The traditional media is not to be outdone. CBS's All Access paid video on demand platform is also considering a revision, followed by Hulu and YouTube to launch advertising services to provide users with better video content services.
HBO has cooperated with Amazon on the song of ice and fire since 2014 and further deepened the cooperation with Amazon Video. After more than 3 years of TV dramas aired on HBO, it can be launched on Amazon's content service platform. While operating HBO NOW, it can also rely on Amazon’s strong membership base expands its own content coverage in the streaming video market.
Trend eight
Slowdown in the growth of traditional media advertising and the rapid growth of digital new media
With the increasingly blurred boundaries between traditional media and new media, audiences are more focused on the flexibility, freedom, and portability of consumer media when they come into contact with media content.
As the digital new media is better at meeting the individual needs of the audience, the capital investment in the advertising market is gradually tilting toward it. At the same time, traditional media led by television are experiencing a slow growth slowdown.
According to the accounting firm PricewaterhouseCoopers, the global entertainment and media industry advertising revenue will show a growth trend from 2014 to 2019, and the compound annual growth rate (CAGR) will reach 4.7% until 2019.
Among them, the difference between traditional media and new media advertising market development is not small, although the traditional media sector will still pay 60% of advertising revenue, but its growth rate has slowed down significantly, CAGR is only 1.2%; in contrast, new media advertising Income CAGR is as high as 12.2%, showing a rapid growth.
By 2019, global new media advertising revenue will account for 38.7% of total revenue, a significant increase from 16.6% in 2010.
The downturn of traditional media is also reflected in the television advertising market. By 2019, the proportion of global television advertising in total revenue will decrease from 31.5% in 2014 to 30.6%. [13]
Within the TV media market segments, online video services such as OTT are gaining momentum with an average annual growth rate of nearly 20% in advertising, while the growth rate of traditional TV advertising has slowed down significantly. CAGR of Multichannel TV and Terrestrial TV is only 5.1. % and 2.8%.
Although online video services currently account for only 2.8% of the overall TV advertising market, and the remaining 97.2% are still supplied by traditional TV services, its excellent development trend has already aroused the attention of advertisers and will continue to increase the market share for this segment. Funding. [14]
For the traditional TV media, it is bound to develop and deepen its own online video business, and further expand the layout of the media industry to adapt to the new changes in the global media ecology.
Trend nine
Social TV boosts TV content and expands influence. Several TV media have joined social networks to promote new programs
As early as 2010, social television was hailed as "the revolution in watching TV" and was rated as one of the 10 emerging technologies by the American Academic Journal MIT Technology Review.
This form of media consumption that combines television viewing and online social interaction provides a rich information support and communication experience for the audience in the new era.
For more than five years, with the continuous integration of TV program content and social networks, social television has not only strengthened the dissemination and influence of television content at the interactive level, but also provided a possibility for innovation at the level of television content distribution.
According to a report from the American consulting firm IpsosMediaCT, as many as 44% of Twitter users identify themselves as “television content expertsâ€, which is 12% higher than non-Twitter users.
The data shows that TV viewers who are more immersed in TV programs and have a deeper understanding tend to gather on Twitter and discuss the contents of the programs. Social media has become a platform for senior television viewers to concentrate and share.
At the same time, 50% of Twitter users said that people had asked them about television programs, and among non-Twitter users, the ratio was only 26%. [15] As a deep viewer and social media user, Twitter users act as opinion leaders for television content.
With the deepening of cross-media use behaviors of the audience, the role of social TV has not only been limited to the establishment of word-of-mouth effects for television content, but also served as a platform for television content distribution.
In 2015, the US pay TV channel HBO announced that it will broadcast the first two episodes of the latest Ballers and The Brink on Facebook.
Coincidentally, Amazon, the streaming media company, is even more amazing. It changed the pilot of the British comedy Catastrophe from the company’s Amazon Video to Facebook.
The reason why television media chose to directly broadcast program content on social media is to realize that the strong user base of social media and the influence of young media audiences have increased the attention and popularity of the program, and it has subsequently become a follow-up to users of social media. Consumers of television programming content.
The move marks a shift in the convergence of TV and social networks in the social TV field. TV is no longer the only content output platform, and social media is no longer the only interactive platform. In the coming year, with the opening of more cooperation channels, the new development path and mode of social television will certainly be established and deepened.
Trend ten
Exclusive copyrighted content will become the focus of competition in the coming year. Streaming media giants will expand the business of filming original resources.
With the deepening of media integration, the traditional TV industry is increasingly impacted by the power of new video media.
Nevertheless, in the television industry, the development path of online video media is a reference and reference. In the United States where video media is highly developed, not only YouTube, Netflix, Hulu and other online video media have set a successful example, but also Amazon, Facebook and other rising stars have joined the big video industry.
According to the latest data from ComScore, in October 2015, video website giant YouTube ranked first in the United States with 173 million effective viewers (Unique Viewers), and Facebook, a social network that opened video services since 2014, was ranked at 91 million. second. [16]
In the field of paid video media, the famous Netflix has more than 65 million users worldwide; Amazon Video is not to be outdone, and the number of users in the United States is also nearly 44 million. [17]
In 2016, all the major online video media invariably invested exclusive copyrighted content as their key points for development. In November 2015, YouTube, which had been operating successfully for 10 years thanks to free content and advertising revenue, finally announced the online payment service YouTube Red.
In addition to enhancing the user experience, YouTube Music, the original video and vertical content exclusively for paying users, will be the core competitiveness of the product. Coincidentally, pay-view streaming media giant Netflix plans to launch 31 original dramas in 2016, with an unprecedented capital budget of 5 billion US dollars.
Unlike Netflix, which has invested heavily in original content, Amazon Video has generously sourced high-quality programming resources and used streaming media partner programs to share exclusive content on TV channels.
By the end of December 2015, Amazon Video had obtained the right to premiere of nearly 30 new programs and established partnerships with multiple TV stations, including Showtime and Starz, the elite pay-TV channel, Smithsonian Earth, the natural documentary channel, and Shudder, the main terrorist theme. Channel, documentary on-demand service CuriosityStream.
In addition to strengthening the construction of exclusive video content, major online video media have also made far-reaching efforts in the industrial layout. Two major streaming media companies, Netflix and Amazon, have invested a large amount of capital to incubate film productions, extending their business to the big screen.
In July 2015, Netflix has finalized three low-cost independent film investment projects covering feature films, musicals and horror films. In addition, Netflix is ​​experimenting with a new batch of original movie trials.
For example, in addition to landing in U.S. theaters, the beasts of the unbounded monsters that were released in October 2015 are also open to subscribers worldwide; the subsequent release of Crouching Tiger, Hidden Dragon 2 has adopted a combination of online subscription and cinema IMAX screening.
At the same time, rival Amazon has announced the release of its first film, Chi-Raq, and claimed that it will be open to members 4-8 weeks after the release of the film, significantly shortening the US market's on-line time limit of 39-52 weeks. In addition, Amazon also announced a plan to produce 12 movies a year, and control the cost between 500-250 million US dollars.
The two streaming media giants have successively targeted the small-cost movie market. On the one hand, they are conducive to expanding their influence and further expanding their user base. On the other hand, they reserve talents and creative resources for the subsequent development of original content at a relatively low cost.
In the future, not so much television media will continue to suffer from the impact of video websites and online streaming media services. It would be better to say that it will serve as an important component of the big video market and will continue to interact with emerging content, channels, and terminals.
The television media and digital new media will use competition as the driving force and cooperation as the link to jointly promote the integration and prosperity of the big video market.
Trend-per-view TV viewing per capita continues to stay at a high level, and sales of smart TVs have increased significantly
With respect to the ratings of more than 6,300 TV channels in more than 100 countries and regions in 2014, viewership per viewer averages 3 hours and 13 minutes per day, which is only one minute less than in 2013.
The maintenance of this high level reaffirms the importance of television content to a certain extent. It also shows that digital transformation not only affects the audience’s viewing behavior, but also stimulates the strategy of television channels, and it also promotes the continuous updating of the media ecosystem. To further meet the changing needs of audience ratings.
Although the use of digital mobile terminals such as tablet PCs and smart phones is becoming more and more popular in the audience, the choice of TV terminals has not been subjected to cold encounters due to the development of new media. However, due to the increasing consumption of TV program content by audiences, TV terminals The change has become the most iconic embodiment.
Whether it is a large-scale sports event or a major news event, or a large-scale production of television series, the audience is more inclined to select the TV screen to watch.
In 2014, television sales in major European countries increased slightly compared to 2013, reaching 29.8 million units. Among them, 43% of televisions are smart TVs that can access the Internet, an increase of 6 percentage points from 2013. [1]
In the United Kingdom, sales of smart TVs increased significantly in 2014, rising by 16 percentage points in one year and accounting for 48% of all television sales.
Although television is still the main terminal for audiences to watch TV programs, the continuous development and progress of other terminals cannot be ignored. These devices provide more diversified channel choices for watching TV content.
In major European countries, sales of tablet PCs and smart phones have remained at a relatively high level. 50% of the country’s device penetration rate is owned by smartphones and 20% are owned by tablet PCs. However, as smartphone sales increase, The preemption of the market for large-screen smart phones will have a certain degree of impact on the sales volume of tablet computers. [2]
At the same time, Rob Gallagher, an analyst at OVUM Consulting, also pointed out that in 2016, direct-to-consumer (D2C) television will be bustling. For example, HBO, DisneyLife, and some other apps will develop D2C subscription services through new mediation services, such as packaged offers from network companies or telecom operators, which to some extent replace the traditional traditional TV subscription service. [3]
Trend 2
The degree of attention of time-lapse viewing has increased significantly. Changes in viewing experience affect audiences' choice of services.
Globally, more and more viewers watch TV programs on a time-shift or on-demand basis, and viewership data gradually incorporates these new users into their income.
In 2014, Eurodata TV published the Global TV Annual Report which mentioned that 26 countries provided time-lapse viewing data, an increase of 3 from the previous year, indicating that more countries have played a role in time-lapse TV ratings data. More and more attention. The 9th edition of the Digital Democracy Survey published by the American company Deloitte pointed out that the proportion of people watching the TV content in the United States is 53%, which has exceeded the proportion of viewers who watch 45% of live TV programs. [4]
In the 2014 US Total Video Report, ComScore of the United States mentioned that young Americans are more inclined to watch TV. In the age group, 46% of the younger audience aged 18-34 chose to use time-shifting, while only 35% of 35-45-year-old audiences were time-shifted, while those aged 55 and above watched TV-shifted. Only 30%. [5]
When Hub Entertainment Research asked audiences to watch the reasons for shifting television, it was found that the reasons for the top three choices were: 60% of respondents indicated that they could choose to watch TV at their convenience; 37% of respondents stated that Because you can watch missed TV shows; 37% of respondents said they can omit advertising. [6]
The Deloitte report also pointed out that another time-lapse view of the new trend “binge-watching†(watching a large number of TV shows in a row) shows that 68% of survey users use this method to watch TV. The program, and 31% of users said that at least once a week will use "brush drama." [7]
The data also show that this way of viewing is most prominent when watching TV shows, as Gerald Belson, vice president of Deloitte, said: “The personal viewing experience and ability to consume media at their own pace are significantly affecting how American consumers evaluate their use. Equipment and enjoyment of service."
Capitol Communicator also mentioned in its 2016 hot trend that today’s viewers will continue to develop their own TV shows they wish to watch through time-shifting content. Explain that the audience's role in passive viewing of traditional television is undergoing tremendous changes.
Trend III
IPTV further expands market penetration, OTT expands high-quality content services
Point Topic's data for the second quarter of 2015 pointed out that the number of global IPTV subscribers has reached 123 million. Although the growth rate has slowed down from the first quarter, the net growth of 4.37 million subscribers has also been the second highest since 2014.
In the distribution of IPTV subscribers' market share in various regions of the world, East Asia is far ahead, with 47.4% ranking first, shielding keywords and Europe (other countries except Eastern Europe) ranking second and third. [8]
Shielded key words and European IPTV development benefited from the deployment of the optical fiber broadband industry. The United States, the Netherlands, Germany, Spain and other countries actively promote the deployment of digital high-speed networks, and 100 megabytes of Internet-speed broadband coverage is relatively wide. This is IPTV, Video service users such as OTT provide a great viewing experience.
For the OTT market, high-quality content services have become an effective way for its development. US investigation companies Vindicia and Ooyala stated that in the next few years, the US OTT video market will continue to develop, and it is estimated that in 2018, the US OTT market's revenue will exceed 8 billion US dollars.
Under the joint promotion of investment, demand and competition, relying on the continuous improvement of the network environment, the development of non-linear services for video viewing is deepening, and the demand of consumers for high-quality OTT services will continue to increase.
In 2015, Dutch TV announced that it had reached a cooperation agreement with HBO to add HBO content to the OTT service they provided. This service was named “Play†and it aims to attract OTT users and young audiences.
From this perspective, the coverage of global IPTV and OTT services is more and more extensive, and the service methods are gradually diversified. The convenient non-linear viewing service makes people's viewing choices more flexible, and video consumption will steadily move forward.
Content services will attract new video-centric consumers, while cloud-based business exploration will also add more different profit models to digital services.
In 2016, the coverage of global IPTV and OTT services will be further expanded and deepened, and the service methods will be gradually diversified. The convenient non-linear viewing services will make people's viewing choices more flexible and video consumption will steadily move forward.
Trend four
4K HDTV technology is gradually promoted, developed countries actively follow up on the corresponding channels and content
According to Quzhi's consulting data, worldwide shipments of 4K LCD TV panels reached 11.34 million in the third quarter of 2015, a 3% increase from the previous quarter, and the 4K panel penetration rate increased to 17% in the third quarter. [9]
From standard-definition to high-definition and 4K ultra-high-definition, the gradual evolution of television screen resolution has driven the upgrading of television equipment, and has also affected the production of content and audience viewing experience.
In 2015, most developed countries provided more high-quality content to match the high-performance 4K TVs in the context of the gradual promotion of 4K TVs.
Since the first broadcasting of 4K programs in 2014, Japan’s exploration in the 4K field has been in a leading position. Several major broadcast companies, TV manufacturers, and communication companies have also formed a consortium to pilot a 4K format program to national audiences, and the Japanese plan The official 4K broadcasting was implemented in 2016 and it is intended to be widely promoted in TV signal production at the 2020 Tokyo Olympic Games.
France Telecom and Italian broadcast company Mediaset have stated that they will launch a pilot service for 4K TV channels by the end of 2015. In France, they mainly provide music and entertainment 4K TV programs to meet viewers’ viewing needs, and will be completely free of charge; while Italy will mainly play In some movies, Vodafone Italy also plans to launch 4K TV service in 2016.
In 2015, the Dutch Coast Media Group also launched a 4K TV channel, which mainly brought music and theatrical performances. It is currently broadcasted for 6 hours daily and is planned to expand to 12 hours per day in 2016 until 24 hours in 2017. All-weather ultra-high definition broadcast.
On the hardware side, Sony will support HDR (High Dynamic Range Image) through firmware upgrade in its multiple 2015 4K UHD TVs. This will not only improve the color performance of the screen, but will also upgrade the viewing experience of the audience; of course, Sony is also actively collaborating with Amazon Amazon Video. 4K device users can obtain a small portion of the rights to use HDR content from Amazon, which also lays the foundation for future content provider cooperation with paid content.
The Consumer Electronics Association of the United States also plans to promote brand-new 4K certification marks on 4K devices so that consumers can feel more comfortable buying their favorite 4K devices.
The advancement of technology has led to the follow-up of content products. The audience is the beneficiary of this, and the high-quality picture and gradually rich matching content have further upgraded the audio-visual feast.
Trend five
Global TV show market has frequent masterpieces, game and entertainment program cross-border innovation
In 2015, global TV programming innovations continued to be done with great success. In particular, most countries have conducted in-depth excavations in challenging self-limits and publishing truth, breaking taboos and other programs, and have achieved impressive ratings.
According to the characteristics provided by Eurodata TV's latest publication of the 2015-2016 international TV program development trend report, the content innovation of TV programs in 2016 is outstanding in the following two aspects.
· On the one hand, the subject of suspense to be used by film and television works by “you have been watched†will be borrowed from multiple television programs in 2016 to produce different types of works.
For example, Sweden launched a 90-minute week-long game competition program RUN! in the second half of 2015. This is a real-time interactive hunt game in which 10 pairs of contestants need to escape from the hounds (stars) of Sweden throughout the eight weeks.
Every day they have to accept a challenge in a different city, and at the same time make sure that they are not caught up by the "hounds" chased after.
Each pair of contestants has a video camera and the audience can watch it online. The "hound" must use the camera to photograph the people who are being chased after they are caught. The audience can choose to help or deliberately mislead the "fugitives."
Each weekend, there will be a group of players who will change their status as "hounds," bringing viewers a thrilling hunt. In the end, only one group of players can bring the award home.
· Another aspect is "to be true to yourself on the TV screen." This element that was originally a documentary program was used by variety shows to play a different entertainment spirit than calm and realistic.
For example, in Belgium in the second half of 2015, BE YOU, a 60-minute week-long television magazine show, was launched. This program has only one topic: women and their bodies.
On the show, famous Flemish female artists will invite their sisters to the show to pay tribute to the woman's body. Be You has a total of five episodes. Each episode is hosted by a pair of famous sisters. Each episode has a different theme: chest, hips, legs, abdomen and face. At the beginning of the show, the host introduced the topic from the results of a large-scale investigation.
These results relate to the various personal problems of these Flemish women, such as their size, their habits, beauty procedures and uneasiness in creating a Flemish woman image, how long she will spend on body care, and her How does the self feel, etc., show the audience their true self while giving the audience a resonance.
Trend Six
TV dramas have performed outstandingly in the global market. Suspense and horror have continued to lead the trend.
The data company Eurodata brought together the top 10 shows in 2014 in 67 countries and regions around the world. The results showed that TV dramas ranked the first in 18 categories with a gravity ratio of 25.2%, and the news programs ranked first in 2014. The type of programming most favored by the global television audience. [10]
Audience and market recognition of TV dramas are closely related to the excellence of content innovation in the field. There is no shortage of excellent TV dramas on the TV screen in 2015, and will continue to lead the development of the global repertoire market in 2016.
Conspiracy, trickery, corruption... These elements of suspense are precisely the source of inspiration for the 2015-2016 fall season hit TV series. Television stations and production companies have used the sensational real events to create a special virtual scene that allows viewers to peek into the secrets of political and economic systems that are not available on weekdays.
For example, the super giant Panthers, which was jointly created by France, Britain, and the United States, was adapted from the infamous Balkan jewelry thief "Pink Panther" case. The synopsis of the story begins between gangsters and corrupt bankers and follows a sensational diamond robbery.
The depiction of crimes and dark forces is undoubtedly the most eye-catching aspect of the play. At the same time, this excellent TV series has also gained wide international appeal. In addition to the Canal + premiere in France, the show will also be introduced into overseas markets such as the United Kingdom, the United States, Ireland, Italy, Germany, and Austria, setting off an upsurge in ratings in the coming year.
In addition, on TV screens from 2015 to 2016, there are many episodes featuring the theme of changing the face and starting a new life.
The Swedish horror drama ngelby and Australian light comedy 800 words invariably selected a similar perspective. The former represented a woman who had just experienced marriage and career change and moved to the town to come back. The latter described a widowed one. How did his father migrate to live overseas with his two children?
For similar story topics, the two dramas are presented in completely different surprises and comedy manners, which not only enriches the dimension and level of television drama creation, but also brings a diverse viewing experience to the global television audience.
Trend seven
TV subscription model is threatened, paid content has driven video site development
With the development of the industry, the audience has more demand for high-quality, original programs, and many new video media meet the increasing viewing needs of users through flexible, on-demand viewing, and OTT services are undoubtedly It is one of the best ways to provide this kind of consumption.
This will help explain how the penetration rate of screened keyword subscription TVs is expected to fall from 79.8% in 2012 to 78.1% in 2016. [11]
On the other hand, in terms of TV subscriptions, the market tends to be saturated. It is estimated that global television subscription revenue will reach US$243.8 billion by 2019, but growth rates in markets such as the United States, Canada, and France will slow down, even outside Western Europe and blocking keywords. The same is true of countries with growth potential. [12]
The British Broadcasting Corporation (BBC) launched a paid download service on the BBC Store, which went live in 2015. The “content store†charges subscribers with digital program download services in a single episode or a whole series.
BBC's program is still free for 30 days after its first broadcast on its new media platform BBC iplayer. The opening of the BBCStore adds a new option for user viewing.
In the highly competitive streaming media content market, Netflix plans to increase investment in original TV dramas in 2016; the old video website YouTube also intends to expand its profit channel to the content field, and they hope to have a powerful original content database and television and movie screening rights. In order to fight Netflix and Amazon's competition.
The traditional media is not to be outdone. CBS's All Access paid video on demand platform is also considering a revision, followed by Hulu and YouTube to launch advertising services to provide users with better video content services.
HBO has cooperated with Amazon on the song of ice and fire since 2014 and further deepened the cooperation with Amazon Video. After more than 3 years of TV dramas aired on HBO, it can be launched on Amazon's content service platform. While operating HBO NOW, it can also rely on Amazon’s strong membership base expands its own content coverage in the streaming video market.
Trend eight
Slowdown in the growth of traditional media advertising and the rapid growth of digital new media
With the increasingly blurred boundaries between traditional media and new media, audiences are more focused on the flexibility, freedom, and portability of consumer media when they come into contact with media content.
As the digital new media is better at meeting the individual needs of the audience, the capital investment in the advertising market is gradually tilting toward it. At the same time, traditional media led by television are experiencing a slow growth slowdown.
According to the accounting firm PricewaterhouseCoopers, the global entertainment and media industry advertising revenue will show a growth trend from 2014 to 2019, and the compound annual growth rate (CAGR) will reach 4.7% until 2019.
Among them, the difference between traditional media and new media advertising market development is not small, although the traditional media sector will still pay 60% of advertising revenue, but its growth rate has slowed down significantly, CAGR is only 1.2%; in contrast, new media advertising Income CAGR is as high as 12.2%, showing a rapid growth.
By 2019, global new media advertising revenue will account for 38.7% of total revenue, a significant increase from 16.6% in 2010.
The downturn of traditional media is also reflected in the television advertising market. By 2019, the proportion of global television advertising in total revenue will decrease from 31.5% in 2014 to 30.6%. [13]
Within the TV media market segments, online video services such as OTT are gaining momentum with an average annual growth rate of nearly 20% in advertising, while the growth rate of traditional TV advertising has slowed down significantly. CAGR of Multichannel TV and Terrestrial TV is only 5.1. % and 2.8%.
Although online video services currently account for only 2.8% of the overall TV advertising market, and the remaining 97.2% are still supplied by traditional TV services, its excellent development trend has already aroused the attention of advertisers and will continue to increase the market share for this segment. Funding. [14]
For the traditional TV media, it is bound to develop and deepen its own online video business, and further expand the layout of the media industry to adapt to the new changes in the global media ecology.
Trend nine
Social TV boosts TV content and expands influence. Several TV media have joined social networks to promote new programs
As early as 2010, social television was hailed as "the revolution in watching TV" and was rated as one of the 10 emerging technologies by the American Academic Journal MIT Technology Review.
This form of media consumption that combines television viewing and online social interaction provides a rich information support and communication experience for the audience in the new era.
For more than five years, with the continuous integration of TV program content and social networks, social television has not only strengthened the dissemination and influence of television content at the interactive level, but also provided a possibility for innovation at the level of television content distribution.
According to a report from the American consulting firm IpsosMediaCT, as many as 44% of Twitter users identify themselves as “television content expertsâ€, which is 12% higher than non-Twitter users.
The data shows that TV viewers who are more immersed in TV programs and have a deeper understanding tend to gather on Twitter and discuss the contents of the programs. Social media has become a platform for senior television viewers to concentrate and share.
At the same time, 50% of Twitter users said that people had asked them about television programs, and among non-Twitter users, the ratio was only 26%. [15] As a deep viewer and social media user, Twitter users act as opinion leaders for television content.
With the deepening of cross-media use behaviors of the audience, the role of social TV has not only been limited to the establishment of word-of-mouth effects for television content, but also served as a platform for television content distribution.
In 2015, the US pay TV channel HBO announced that it will broadcast the first two episodes of the latest Ballers and The Brink on Facebook.
Coincidentally, Amazon, the streaming media company, is even more amazing. It changed the pilot of the British comedy Catastrophe from the company’s Amazon Video to Facebook.
The reason why television media chose to directly broadcast program content on social media is to realize that the strong user base of social media and the influence of young media audiences have increased the attention and popularity of the program, and it has subsequently become a follow-up to users of social media. Consumers of television programming content.
The move marks a shift in the convergence of TV and social networks in the social TV field. TV is no longer the only content output platform, and social media is no longer the only interactive platform. In the coming year, with the opening of more cooperation channels, the new development path and mode of social television will certainly be established and deepened.
Trend ten
Exclusive copyrighted content will become the focus of competition in the coming year. Streaming media giants will expand the business of filming original resources.
With the deepening of media integration, the traditional TV industry is increasingly impacted by the power of new video media.
Nevertheless, in the television industry, the development path of online video media is a reference and reference. In the United States where video media is highly developed, not only YouTube, Netflix, Hulu and other online video media have set a successful example, but also Amazon, Facebook and other rising stars have joined the big video industry.
According to the latest data from ComScore, in October 2015, video website giant YouTube ranked first in the United States with 173 million effective viewers (Unique Viewers), and Facebook, a social network that opened video services since 2014, was ranked at 91 million. second. [16]
In the field of paid video media, the famous Netflix has more than 65 million users worldwide; Amazon Video is not to be outdone, and the number of users in the United States is also nearly 44 million. [17]
In 2016, all the major online video media invariably invested exclusive copyrighted content as their key points for development. In November 2015, YouTube, which had been operating successfully for 10 years thanks to free content and advertising revenue, finally announced the online payment service YouTube Red.
In addition to enhancing the user experience, YouTube Music, the original video and vertical content exclusively for paying users, will be the core competitiveness of the product. Coincidentally, pay-view streaming media giant Netflix plans to launch 31 original dramas in 2016, with an unprecedented capital budget of 5 billion US dollars.
Unlike Netflix, which has invested heavily in original content, Amazon Video has generously sourced high-quality programming resources and used streaming media partner programs to share exclusive content on TV channels.
By the end of December 2015, Amazon Video had obtained the right to premiere of nearly 30 new programs and established partnerships with multiple TV stations, including Showtime and Starz, the elite pay-TV channel, Smithsonian Earth, the natural documentary channel, and Shudder, the main terrorist theme. Channel, documentary on-demand service CuriosityStream.
In addition to strengthening the construction of exclusive video content, major online video media have also made far-reaching efforts in the industrial layout. Two major streaming media companies, Netflix and Amazon, have invested a large amount of capital to incubate film productions, extending their business to the big screen.
In July 2015, Netflix has finalized three low-cost independent film investment projects covering feature films, musicals and horror films. In addition, Netflix is ​​experimenting with a new batch of original movie trials.
For example, in addition to landing in U.S. theaters, the beasts of the unbounded monsters that were released in October 2015 are also open to subscribers worldwide; the subsequent release of Crouching Tiger, Hidden Dragon 2 has adopted a combination of online subscription and cinema IMAX screening.
At the same time, rival Amazon has announced the release of its first film, Chi-Raq, and claimed that it will be open to members 4-8 weeks after the release of the film, significantly shortening the US market's on-line time limit of 39-52 weeks. In addition, Amazon also announced a plan to produce 12 movies a year, and control the cost between 500-250 million US dollars.
The two streaming media giants have successively targeted the small-cost movie market. On the one hand, they are conducive to expanding their influence and further expanding their user base. On the other hand, they reserve talents and creative resources for the subsequent development of original content at a relatively low cost.
In the future, not so much television media will continue to suffer from the impact of video websites and online streaming media services. It would be better to say that it will serve as an important component of the big video market and will continue to interact with emerging content, channels, and terminals.
The television media and digital new media will use competition as the driving force and cooperation as the link to jointly promote the integration and prosperity of the big video market.
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