Damien Marchi

STREAMING VIDEO: Compared to other markets, the approach of many French broadcasters to streaming has largely been underwhelming and inconsistent, perhaps imagining that if they ignored it, it would go away. However, the last 12 months have seen both TF1 and M6 make effort to catch-up with the rest of the world and invest in their streaming and addressable advertising capabilities. Last week's launch of M6+ sees a strategic shift by the broadcaster, including a doubling of the number of hours of content to 30,000 per year, of which 10,000 will be exclusive. The impact of M6+ launch is clear with plenty of signposting on-air and this fantastic advert which shows a woman rejecting the ultimate luxury TV offer because M6+ has plenty of content and is free. Its a simple, but powerful message, especially in the current, challenging economic climate. M6, May 2024 #france #m6 #m6plus #bvod #free #gratuit #pub #tvcommercial #streaming #streamingvideo

2

"Spending by video-on-demand (SVOD) platforms will reach €10 billion in Europe’s major TV markets in 2024. The figure overtakes the investment made by the region’s commercial broadcasters in original and acquired content. (...) The answer from the broadcasters has been to intensifying their focus on streaming strategies, even though their content spending budgets have reduced by 19% since 2016. (...) However, Ampere Analysis warns that content spending strategies should not be the only consideration; broadcasters must also prioritise the transition of audiences to streaming to ensure their long-term relevance. This involves investing in their video-on-demand platforms, expanding content libraries, enhancing digital advertising capabilities, experimenting with content release strategies across linear and VOD, and tailoring content output to cater to younger demographics." #streaming

6

UHD INSIGHT: why a broadcaster deploys UHD? Today Yannick Olivier of France TV was presenting at the Paris Video Tech, the #paris2024 UHD deployment. The full presentation is available at : https://lnkd.in/gDWVucet Beyond all the technical details, what caught my eyes were the answers to the paused question: - UHD (2160 SDR/No NGA) is already available from TF1 and M6 on IPTV - lots of movies are now available in UHD - major sports events (Olympics, World Cup) are now in UHD - SVOD offer UHD content - DTT platform has not evolved over the last 10 years, if nothing was done, it would become soon obsolete and broadcasters would lose their spectrum. Not mentioned is UHD is now available at 70% of households in France. So if you are a broadcaster and still in HD (SD should be outlawed by now), you should ask yourself the question. Ultra HD Forum Benjamin Schwarz Ian Nock Sam Matheny Madeleine Noland Chris Arley Seeger Alex Zambelli Chris Johns

20

5 commentaires

Findings confirm the future of #video - and the new challenges ahead "As exclusive streaming-only sporting events are on the rise, a survey from Qwilt sheds light on the challenges and considerations of content publishers looking to plan and execute mass live streamed events....identifies ongoing and new themes in mass live event delivery in 2024, from CDN capacity and performance to QoE metrics, overall event success, capacity requirements, and cost optimization." Video is moving online away from traditional methods of #distribution and towards internet, even what people consider #lineartv is more and more being delivered by the internet. In Europe, its a bit different, internet distribution is being done alongside traditional #broadcast yet its still present. "Streaming-only live events are quickly becoming the new normal, with #streamingservices like Peacock leading the way. Peacock recently reported 16.3 million concurrent devices during an exclusively-streamed NFL playoff game in January, marking Comcast’s biggest night on the Internet." #livesports is/was the last holdout of traditional #linear #television but now, especially in the US, things are changing and even live broadcast is now done exclusively on the internet. With these changes come challenges, as the report highlights: "#CDN performance and capacity continue to dominate concerns, with 29 per cent identifying CDN performance as their greatest technical concern regarding video delivery...46 per cent say the average bit rate would be in the 4 to 6Mbps range. This compares to only 30 per cent of respondents expecting the average bit rate to be in the 4 to 6Mbps range in the 2022 survey. Using an average bit rate of 5Mbps, 16.3 million viewers would mean over 80 Tbps of CDN capacity would be needed at peak for the event. " - This is crucial to the delivery of content, but also, I think the cost of CDN must also be a point of concern. When delivering to multiple takers, CDN costs can grow considerably, and so while it appears far cheaper initially than traditional delivery, costs add up quickly. Quality of Experience is vital too. It's amazing that you can watch TV in full HD and have a seamless viewing experience via the internet, its the norm for entertainment and is becoming more common in #liveevents And yet, can CDN bitrates balance with costs to give QoE, particularly when viewers are demanding more and more. I noticed in the UK that streaming of the #euros isn't always in #hd which is really surprising from an end-user perspective. Users now want #4kuhd not just HD, so its a fine balancing act to ensure these three elements, CDN performance, CDN costs and QoE/UX are in harmony. #streamingplatforms #streaming #tvindustry #livetv #broadcastmedia https://lnkd.in/dmMrG4S2

4

“Got An Itch That Needs Scratchin’ ?” Your Brain is just itching to EVOLVE! Which it does via the Creative Growth & Development it employs: Solving all the Puzzles, Playing all the Games & Telling all the Stories of your Life & Personal Evolution via Survival, Procreation & Evolving! Cooperate 4 Health & Happiness!  3 Chords & The Truth!  “The Evolution Connection!”     Griffinheart @ Patreon   ADVANCED PSYCHOTHERAPY FOR ADVANCED BRAIN FUNCTION!!! “All Questions Answered!” #HEALTH #MENTALHEALTH #ANXIETY #DEPRESSION #SCIENCE ,  #PSYCHOLOGY ,  #PSYCHOTHERAPY ,  #THERAPY ,  #COUNSELLING ,  #mentalhealthawareness ,  #mentalhealthmatters ,  #mentalhealthrecovery ,  #endthestigma ,  #mindfulness ,  #personalgrowth ,  #daringgreatly ,  #selfcarematters ,

3

ÉDUCATION : my talk on streaming optimization Here is a replay of my NAB presentation hosted on @visualon booth. I hope you will now be convinced what needs to be optimized is AVC codec, using AI tools, good analytics as well as (when possible) throwling.

1

Thank you The New York Times ! #filmproducer #producer #documentary #cinema EXCERPT “Power” is most like “13TH” in its structure and approach, relying largely on historical context, archival footage of network news and political speeches, and a bevy of scholars and experts to explain an array of issues. How did policing and politics get intertwined? Why did American police become more like the military? What does the term “law and order” mean on the ground? How and why are armed officers involved with everything from patrols to strikebreaking? But where “13TH” often took a poetic approach, “Power” mixes polemics and the personal. The aim, as the title suggests, is to underline how much of our contemporary conversations about policing are really about power: who is in a position of power, when can that power be used, and when is it given to others. Ford operates as narrator, his voice guiding us through the maze. As with many documentaries that aim to construct a political and social argument, it’s a little like drinking with a fire hose, even if you’re familiar with the history and questions. The point isn’t the data, but the spider-web nature of the argument; seemingly disparate things (labor strikes, slave patrols, the removal of Indigenous Americans from their land) are drawn together in “Power,” which becomes an act of pattern recognition. It is not easy viewing, but it’s a strong introduction to a topic that seems freshly relevant every day.

3

The Cumulus compensation ploy • May 2nd Cumulus had their annual shareholders meeting and they were not talking about what their angry investors did. • They approved one thing – their account firm. • When asked to re-elect their board of directors, a surprising and resounding outcome. • The company is still laying employees off and shrinking operations so when they asked shareholders to show a financial vote of confidence in them, an even greater surprise. • What’s really going on here – a questionable debt exchange deal, a second bankruptcy and a growing rift between investors and their top management. https://lnkd.in/gQRZYCWq

4

1 commentaire

If you like to find out more about the power of #HbbTV, ping me for a meeting during ANGA COM. I am more then happy to share deeper insights on how channel owners, broadcaster and operators can benefit from the power of #HbbTV

35

A fresh survey from BetaSeries and MIP Markets - MIPTV, MIPCOM & more shows the growing appetite from audiences in France, Germany and Spain for non-local, non-english TV series and movies. #betaseries #international #content #streamers #tvseries #movies

22

Brief and educative summary of how Tier 1 live TV can be done natively in the cloud, with highest quality and lowest budgets. Not to be missed!!!

2

“…music copyright valuation continues to grow at an accelerated pace. The global valuation ascribed to music copyright reached $41.5bn, according to industry economist Will Page. This is 14.5% more than 2022. More folks are streaming music than ever before. Vinyl sales are up. Concert ticket sales surpassed 2019’s figures, according to Live Nation. And beneath all of this are the songs, or copyrighted works. Without them, there would be no tours, no vinyl records and no streaming services. Funds that invest in this intellectual property are expected to continue to see a return. But across the industry, this is not the case.” “There are reasons for this - based both on data and perception. Qualitatively, the way the music industry - as a monolith - is perceived continues to be challenged. For example, in BBC’s daily news podcast, Global Story, a report on Taylor Swift referred to the music industry as ‘in crisis’ despite the macroeconomic data arguing otherwise. This is supported by the evidence of burgeoning inequality. While arenas and stadiums celebrate a bumper year, small music venues in the UK suffered their “worst year in a decade” according to the Music Venue Trust. Music education hubs - often the places where music is first created - are being cut by two-thirds in 2024-2025. However, quantitatively, the data reveals a different story. Music listenership is up, according to the IFPI. Revenue collections from CISAC, the international trade body representing collective management organizations was up 28% in 2022. Simply, more music would mean more return, especially for firms that own much of the music that is consumed, such as funds like Hipgnosis, Round Hill or Primary Wave or the three multinationals, Universal Music Group, Warner Music and Sony Music. However, debt is now more expensive, and liabilities are outstripping return. Listening to more music is not enough.” #CMOs #CISAC #IFPI #Artists #UK #RecordingRights #Performers #Royalties #MusicRoyalties #Music #Musica #MusicIndustry #Musique #Musik #Copyright #Copyrights #Songs #Songwriters #Recordings #MusicPublishing #Streams #Streaming #MusicStreaming #LiveMusic #Global #RecordedMusic #RecordLabels #IndieMusic

1

1 commentaire

Very good insight! I agree, the landscape is shifting. Adapt or die. As a TV and movie production company we can align with the streaming platforms, and with half a dozen companies reach HALF of the entire world's population. By doing so we can also control our own destiny and costs. That is alluring. The media distribution marketplace will dramatically change in the next 36 months. Is there a place for cinema, theatres, streaming, and other alternative delivery methods to co-exist? Time will tell, we all adapt, we all evolve, that is the nature of business. Here is a prelude of things to come...

3

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 the film industry continues to evolve, it was great to be part of the "Developing New Audiences for Independent Film" panel in Cannes. The panel spotlighted standout initiatives across Europe, with the aim of showcasing creative excellence and promoting international engagement and collaboration: Sarah Calderón shared insights about the European Film Challenge, an initiative for young audiences across 14 European countries that encourages viewers to watch 10 European films within 10 weeks. Participants who complete the challenge receive prizes and group recognition, fostering the next generation of cinephiles. Jérémy Zelnik introduced us to Futura Cinema, a French incubation program developed in partnership with several film festivals, centers, and residencies. The 2024 edition focuses on how innovations from other sectors—such as museums, the music industry, publishing, and education—can inspire those involved in cinema and film distribution. This program is a great example of how the film industry can learn from other creative sectors. Manon Dulauroy discussed Piece of Magic Entertainment and its strategy for attracting new audiences by bringing concerts, comedy, and gaming to the big screen, as well as eventising releases for films like Godzilla Minus One. This approach highlighted how the shared experience of cinema can appeal to a broader audience beyond traditional film fans. I then had the opportunity to talk about Escapes, a brand created by elevenfiftyfive to attract new audiences to cinemas. Sharing the result of the first two events from this multi-year project: 16,098 tickets claimed 50% were first-time visitors to that cinema 82% said they would return to buy a ticket within 3 months 43% doing so within a month 6,966 sign up to cinema marketing comms. A special thanks to Silvia Angrisani for curating the panel, and Ben Luxford for hosting. #UKPavilion #Cannes2024 

59

It was a pleasure to talk all things #FAST earlier on this year with such a strong panel - thanks again to Kauser Kanji for bringing together such an educated panel (Marion Ranchet, Yannick Ferrero, Anthony Layser and David Urgell) and then allowing me to tag along ;-) If you want to hear how to build a #Fastchannel brand, have a look at the video below... Whip Media #FASTrack #data #AVOD #streaming https://lnkd.in/eRb9YEjq

39

“We need to rediscover the origins of journalism which was based on news, to find out something that was not supposed to be found out. Every real journalist is driven by that, not wanting to aggregate information that is out there anyway. Reporting, coming up with something new, unknown, is the essence of the business.” Yeah, ok great. But then, what happens once you've succeeded at that mission and published something new? Thanks to your open funnel sending that info to OpenAI, they can now regurgitate it on their own platform(s). I would love to know if these deals include mandates for a link back to the actual source and limitations around how the content can be reshaped, retold and reshared. Are there any protection preventing your data from third parties who use OpenAI technology to create junk AI sites that create pink slime copies of a copy of a copy. I get publishers may look at the "pact with the devil" as a better alternative to the devil just taking what he wants with no pact. But, we need to be smart here. Our future depends on it. #ai #media #journalism #artificialintelligence #openai #genai

1