research rehash_research 29/08/2014 16:52 Page 3
between 2013 and 2020,
69m will be in the Asia
Pacific region – or 68% of
the new subscribers. Asia
Pacific will account for 61%
of global pay IPTV subscribers by 2020; up from
38% in 2010. Despite subscriber numbers more than
doubling, Western Europe’s
share of the global total will
fall from a third in 2010 to
14% by 2020.
Four of the top 10 IPTV
region will contribute an
extra $3.9 billion, led by
China ($1.4 billion more) and
Japan ($0.9 billion).
The US will remain the
largest IPTV revenue earner
by taking 34% of the 2020
total (down from a 46% share
in 2010). France will drop
from second place in 2013
to fourth by 2020. China will
take second place in 2020;
up from ninth in 2010.
countries by subscribers
were in the Asia Pacific
region by end-2013. Already
the world leader, China will
supply 77m (40% of the global total) of the 2020 total, up
from 33m (37%) in 2013 and
only 6.5m (18%) at end-2010.
India will contribute 7.1m
IPTV subscribers by 2020, up
from only 318,000 at end2013. Strong growth is also
expected in Russia, with
subs numbers doubling
between 2013 and 2020 to
7.1m. The US will add 4.8m
subs and Vietnam 4.1m.
IPTV revenues will climb
to $26.2 billion in 2020, up
from $16.0 billion in 2013
and $8.3 billion in 2010.
Asia Pacific’s share of the
global total will increase
from 17% in 2010 to 30% by
2020, but North America will
remain the revenue leader.
From the $10.2 billion
additional revenues to be
created between 2013 and
2020, the US will provide
$2.5 billion. The Asia Pacific
Drama series drive
SVoD
New research from GfK
reveals, for the first time,
consumption data at a title
level for programmes
viewed on subscriptionvideo-on-demand (SVoD)
services in the US and UK as
well as key facts about signup that reveal the importance of access to large content libraries and the ability
to watch anytime playing a
key role.
In the UK, Breaking Bad is
a very clear winner for the
most streamed programme
during the 13-week survey
period, with Dexter and
Prison Break taking second
and third, followed by
Netflix’s original commission,
House of Cards, in fourth. In
the USA, the top places are
more closely fought, with
House of Cards coming in
just ahead of Breaking Bad,
and Dexter taking third place.
According to Julia
Lamaison, insight director for
media and entertainment at
GfK, broadcasters and distributors have, for some time,
wanted audience data for OTT
viewing of video content –
particularly for SVoD services
such as Netflix and Amazon
Instant. “The data shows the
importance of drama series to
these services, with six out of
the top 10 titles driving consumption similarly in the UK
and USA,” she advised.
The research
also reveals that
the top five reasons for subscribing are the same
in both markets.
In contrast to payTV services, it is
access to large
libraries of content
coupled with the
ability to watch at
any time and to
watch multiple
episodes at one
sitting that is driving sign-up.
The GfK SVoD Content
Consumption study also
highlights how these services
have moved from niche to
mainstream, appealing to
young adults in particular.
Lamaison said the findings
underlined how much subscribers value being able to
watch what they want, when
they want, “It is clear that
these services are driving
change in the way subscribers can choose to watch
visual content, particularly
serial drama with strong
story arcs,” she concluded.
Millennial cord-nevers
likely to remain so
According to new analysis
from analyst group
nScreenMedia, 19% of millennials do not have pay-TV
– only 2% of those say they
intend to get it in the next
three months. A big part of
the problem for operators
is that these young viewers
have grown up in the interactive world of the Internet
and mobile phones. The
passive television experience is simply not interesting to them.
In the new free white
paper - What Millennials
Want from TV - nScreenMedia
looks at how social media is
changing the traditional TV
experience. It also offers
practical advice to operators
on how to go about bringing
the social dimension to their
TV service.
“For the Internet generation, their opinions are as
much a part of the experience as the media they are
consuming,” said Colin
Dixon, founder and chief analyst of nScreenMedia. “When
they look at television they
see something fixed and
unresponsive. TV Operators
and content providers need
to bring the audience’s voice
more directly into the experience.”
The white paper examines
successful online services
such as HuffPost Live to
understand how they are
leveraging the voice of their
audience to more directly
engage with them. Using a
mix of editorial material and
social comments, HuffPost
Live is now attrac ѥ