Smart TV wint terrein

Meer dan vier op de tien Nederlandse huishoudens beschikt over een Smart TV met internettoegang. Dat geldt voor 42 procent van de huishoudens. Dit blijkt uit het onderzoek Media Standaard Survey (MSS) die door Kantar TNS wordt uitgevoerd in opdracht van SKO en de andere organisaties die verantwoordelijk zijn voor mediabereiksonderzoeken. Met deze 42 procent is een forse groei gerealiseerd. Eind 2016 gold er nog een penetratie van 37 procent.
Internettoegang via de computer blijft met 93 procent gelijk aan de tweede helft van 2016. 88 Procent van de huishoudens heeft digitale televisie op één of meer toestellen. Dit percentage digitale ontvangst bleef op het niveau van de tweede helft van 2016.

In 15 procent van de huishoudens is een mediacenter of dongle voor op de TV (zoals Apple TV of Google Chromecast) aanwezig.

De helft van de huishoudens (50%) geeft aan een digitale aansluiting via de kabel te hebben. 18 procent van de huishoudens heeft digitale aansluiting via internet. In 11 procent van de huishoudens is glasvezel te vinden als bron van digitale ontvangst. 6 procent van de huishoudens ontvangt TV via Digitenne op één van de toestellen en 3 procent heeft een schotel. Deze percentages zijn vergelijkbaar met die van de tweede helft van vorig jaar. Wel daalde het aantal huishoudens met analoge ontvangst op één of meer tv-toestellen verder van 22 procent in de tweede helft van 2016 naar 18 procent in de eerste helft van 2017.

Andere resultaten uit het onderzoek:

  • 35% van de huishoudens heeft een harddiskrecorder aangesloten op één of meer toestellen.
  • 25% van de Nederlandse huishoudens heeft een harddiskrecorder geïntegreerd in de settopbox.
  • 84% van personen van 13 jaar en ouder in bezit van een smartphone.
  • In 78% van de huishoudens is een laptop aanwezig en in 45% een desktop computer.
  • Het aantal huishoudens met een tablet is gestegen van 63% in de tweede helft van 2016 naar 67% in de eerste helft van 2017.

Should European operators worry about cord cutting as Amazon, Netflix push deeper into their market? Absolutely

When the Big Two come to play in our backyard, it’s time to up our game. Netflix has over 2 million subscribers in the Netherlands alone and Amazon have launched a push into Europe that will likely result in some bad nights of sleep for operators, pay-TV channels and broadcasters looking themselves to do more business over the top.

Both OTT players have long-term toe holds in Europe, pretty much since the dawn of streaming. Both were early into the United Kingdom – in one form or another – and used that base to help catapult them onto the continent, Netflix through the Netherlands and Amazon into Germany via its purchase of LoveFilms.

While each company is expanding original content production in Europe, they’ve chosen two different paths to growth.

Netflix, as has become its norm, announced a major cash outlay on originals, much of it specifically for Europe. It’s increased hiring, as well, adding hundreds of jobs to its European workforce.

Looking to deal with some of the political headwinds it’s facing on the continent – tax law, privacy issues, net neutrality and media ownership challenges, the company has begun looking for a new vice president to handle global public policy.

Meanwhile, in addition to Amazon budgeting an estimated $4.5 billion on original content itself this year, also is rolling out new channels to members of its Amazon Prime program only in the United Kingdom and in Germany, two strongholds, that will propel its rapidly evolving position as not just an aggregator of content, but as a pay-TV provider offering content à la carte. Prime annual subscriptions run £79 in the U.K. and €69 in Germany (and Austria). Prices per channel will be £1.49 and £9.99 per month in the U.S. and €1.99 and €7.99 in Germany.

Live linear and video-on-demand content will be available as the U.S.-based etailer debuts channels including, among others, Discovery, MGM, Shudder, Comic Con HQ, Eurosport Player and ITV Hub+ plus Amazon’s Heera. Its German offerings include, among others, Syfy Horror, GEO Television, MGM, Studio Universal Classics, E! Entertainment, Terra X, Motorvision TV, sportdigital HD, Fix&Foxi, Kixi Select.

Eurosport will start live streaming premium sports content, beginning with the French Open.

Amazon’s existing platform – with its original content – will remain part of Amazon Prime, as well.

For content owners and channels that are part of the new Amazon play, it’s an opportunity to connect with cord nevers they really haven’t had access to before, and for the cord nevers – many of them Millennials and Gen Xers – it’s an opportunity to access premium content they might not have had access to previously.

For operators not already engaged with Amazon or Netflix, the moves could be the start of harrowing times akin to U.S. operator and broadcaster experiences.

While European providers have seen the early impact of cord nevers, cord cutting and cord shaving have been less prevalent.

But that could change as the two companies establish deeper roots. It’s worth noting that substantial cord cutting in the U.S. didn’t occur until streaming became more common. In fact, as SVOD services have proliferated, cord cutting and shaving have become the norm. U.S. operators experienced their worst first quarter even in 2017, losing subscribers during a period traditionally seen as a time for strong gains.

The more than 802,000 subs who left in Q1 have cast a long shadow over Q2, traditionally the worst quarter for subscriber losses.

As younger viewers in Europe discover more premium content available from SVOD services, and more channels that include live sports online, that consumers will cut or reduce their spending on pay TV is inevitable.

As more streaming devices are sold in Europe and more connected TVs include the Netflix and Amazon apps, look for an increased migration away from legacy services to the new breed.

For content owners not already playing in the online space, the expansion of the two SVOD giants should be seen as a starter’s pistol shot to be off and running, especially for services with original or unique niche content.

While some pundits have pointed to the cumulative expense of SVOD services and à la carte channels for the consumer being higher than a pay-TV subscription, a different reality already is developing in North America where consumers regularly churn into and out of services as specific content becomes available, keeping costs lower.

While this new reality can be irksome for OTT providers, most accept the lower cost of customer acquisition – and the likelihood of subscribers returning as new content becomes available – as just part of the new economics of the OTT ecosystem.

An interesting note from the U.K. this week shows just how much the market there has been changed by Netflix and Amazon.

The BBC is quietly shuttering its 18-month-old download portal, which allowed customers to purchase digital content because it hasn’t been able to compete with Netflix and Amazon. As one BBC source told the Telegraph, “the download market isn’t what it once was.”

The solution? The BBC may expand its own SVOD offering currently operating in the United States, the Telegraph said.

Jim O’Neill – Strategic Media Consultant

Facebook starts with production of own tv series

Facebook is starting production on high-quality television series and gaming shows to be broadcast on its platform, one of the social media giant’s executives said on Monday.

The online platform, which has around two billion monthly users worldwide, is working on the project with a small group of partners and hopes to start putting out episodes of its forthcoming series by the end of the summer, Nick Grudin, the vice president for media partnerships, said in a statement to AFP, confirming a report in the Wall Street Journal.

“Our goal is to make Facebook a place where people can come together around video,” Grudin said, noting that Facebook and its collaborators would “experiment with the kinds of shows you can build a community around — from sports to comedy to reality to gaming.”

Facebook is funding the shows on its own at first, he said, “but over time we want to help lots of creators make videos funded through revenue sharing products like Ad Break,” a software tool that allows adverts to be directly inserted into Facebook’s online content.

Facebook did not identify its content-production partners, but the Wall Street Journal said they include Hollywood studios and agencies representing actors and other creative talent from the film and television industries.

Facebook is ready to spend up to $3 million per episode, a budget which puts it at the upscale end of television production in the United States. In doing so, it is a following a trend set by other internet giants that were once satisfied with allowing their platforms to be used for distribution by other producers.

Netflix, Amazon and the online television platform Hulu — a joint venture by Disney, Comcast, 21st Century and Time Warner — have thrown themselves into content production, as have YouTube and Apple, although on a more modest scale.

AnyDay’s comment: the fact that yet another (social) platform is entering the market of premium content is an example of their data driven media strategy to engage customers, create loyalty and monetize on content. This bottom up approach seems to work well; having the data and the customers to support it.