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As the Media and Entertainment industry continues to experience disruption, winning and losing strategies are becoming ever clearer. …

As the Media and Entertainment industry continues to experience disruption, winning and losing strategies are becoming ever clearer.
Disruptive forces continue to influence media players of all types, and a new industry landscape is emerging. Companies are challenged to rethink business strategies and operating models to compete effectively.
Data and analytics are a powerful differentiator for almost any business model. A new set of skills are required for media companies to meet new consumer expectations of content whenever, wherever.

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  • 1. Pulse of Media Mastering disruption in the digital world
  • 2. 2 Pulse of media Consumers are more demanding than ever and content is becoming fluid as a result, available anywhere and anytime.
  • 3. Mastering disruption in the digital world 3 I am pleased to welcome you to the executive summary report of #pulseofmedia, Accenture’s latest study of the major trends that we see shaping the present – and future – of the media and entertainment industry. Since we launched Pulse of Media last year, the media and entertainment industry has continued to experience disruption, with winning and losing strategies becoming ever clearer. Content now spans all screens. Audiences must be measured across channels. The creation of targeted digital experiences has to be balanced against consumer trust issues. Traditional content- delivery windows continue to break open. Media companies are being challenged to rethink long-established operating models. The television is becoming a new frontier for developers. In this executive summary and in other materials on the #pulseofmedia site, we give our views on what this disruption means for media and entertainment companies. We also present findings from our 2014 Accenture Digital Consumer Survey of 23,000 respondents in 23 countries. The survey provides an additional level of insight into the ways consumers are using content to create their own entertainment schedules, and their views on important issues such as digital trust. Amidst industry disruption, we note that the definition of a media company has expanded, shifting with every online or mobile innovation. Consumers are more demanding than ever and content is becoming fluid as a result, available anywhere and anytime. The media and entertainment industry has been in a constant state of flux, with new competitors reshaping the industry, their eyes on a lucrative prize: the digital consumer. As savvy as today’s consumers have become – employing a variety of methods to view content when and where they want it – media and entertainment companies need to be equally adept. They must utilize new technologies and platforms to stay responsive to customer needs and in ways that also grow their business. Google and YouTube are sterling examples, having defined what it means to be a super-platform for all media content. Amazon has redefined digital distribution, using scalable architectures that support its own services and were foundational for emerging media giants such as Netflix. British Telecom and other Internet service providers are building on strong network assets to become the core utilities required to access all media as they move upstream to take greater control of content. So what is a media company today? Is it some magical combination of content, technology and context? And if so, will this combination decide who survives and thrives – and who succumbs and dies? On the site, you will find discussions of relevance to media companies of all types. You will also be also able to find views on key issues and opportunities from a number of industry players. I hope you will join in the debate. Foreword Francesco Venturini Global Managing Director Accenture Media & Entertainment
  • 4. 4 Pulse of media Introduction We see a number of meaningful shifts underway in the media and entertainment industry as 2014 begins. Consumers are influencing content and services in powerful ways. Companies are transforming themselves to serve customers on every screen. And new business models are beginning to thrive. Consumers have continued to take control of their own entertainment programming – downloading, recording, delaying and watching multiple screens simultaneously – and we have seen a corresponding shift among media and entertainment businesses. These businesses are increasingly gathering data and analyzing consumer behavior to create the best digital experiences and to monetize them. As they do, they are beginning to conquer the inherent privacy issues, gaining their customers’ loyalty as they offer experiences that make the privacy trade-off worthwhile. While they serve their consumers across screens and devices, businesses are also generating new user experiences and helping consumers to view content where they want and when they want. Ultra HD promises to enhance the viewer experience, businesses are learning to manage experiences across screens and live TV is moving beyond the living room. Simultaneously, taking a cue from young web businesses, forward-thinking media companies are altering their traditional operating models and hiring new talent pools to build additional capabilities that support the branding, marketing and service launch of new digital experiences. Additional innovations are taking root around such diverse efforts as content funding, opening up the TV to developers, measuring audiences across screens and further breaking down traditional content-distribution windows. Our report looks at each of these developments, examining the ways in which they may affect media and entertainment businesses over the coming years and outlining the critical issues that all companies – both established and new entrants – will need to address as they develop their strategies for the future.
  • 5. Mastering disruption in the digital world 5
  • 6. 6 Pulse of media Last year we said that consumers, empowered by new tools and technologies, were taking control of the media and entertainment experience, becoming the “kings” of content. We saw them creating their own entertainment schedules, interacting with digital content across channels and devices, and demanding – and receiving – personalized content tailored to their behaviors. What has happened since? It seems these new consumption models have gone mainstream. We have found that not only are consumers still “kings,” but they are more demanding than ever. The majority of consumers are empowered by versatile new devices, and they want their content to be fluid: immediate, flexible and accessible on the screen of their choice. In response, many businesses are offering just that – following the consumer from screen to screen with content and services. The most successful companies are gathering and analyzing data about consumer behavior and preferences, using that data to actively drive product and service decisions. Netflix, for example, uses consumer data to negotiate how much it must pay for content rights, and to tailor its content offerings. And businesses everywhere are taking on consumer privacy, offering price and service trade-offs in return for access to customer data. As companies find ways to turn new consumer demands to their advantage, they must understand that the TV is no longer the first screen to which viewers turn for entertainment. Once by far the dominant entertainment source, TV is now just one of many options. In fact, 2013 was the first year that the average time spent by users of online and mobile in the US exceeded the average time spent viewing TV (Exhibit 1). Our research also indicates that while 71 percent of digital consumers still choose the TV for full-length movies and TV shows, the laptop, tablet and mobile phone are more often the device of choice for other digital activities.1 Content providers must therefore adjust to multiple “first” screens, making their content more fluid and managing the user experience as this content flows from device to device. As a basic example, HBO Go allows users to watch an HBO program on the mobile phone, then arrive home and launch the program via Apple TV, picking up where they left off.2 But the challenge of cross-screen management is typically more complex than that. Media companies need to adapt the content experience and value proposition to each individual device: one size doesn’t fit all. While on one side there is the need to move toward a single supply chain for content production, on the other side each device needs different formats, multiple bit rates based on connectivity and appropriate content protection to prevent piracy and unauthorized access. Further, service complexity is significantly increased by new multiplatform capabilities, which are increasingly data-driven, including rights management, advertising management, social integration and user interface definition. Recently, Netflix overhauled its user interface on most devices by running multiple eye-tracking studies and conducting extensive A/B consumer tests and focus groups3 . All the data being scrutinized to improve product offerings and allow seamless screen- to-screen experiences comes from consumers – and consumers must allow it. As companies begin to offer new services and products based on consumer data, such as location services, they need to show consumers the value in sharing their information. Consumer is (still) King of Content
  • 7. Mastering disruption in the digital world 7
  • 8. Exhibit 1: US average time spent per day with major media Exhibit 2: Attitudes towards personal data security on the Internet TV is no longer the first screen. The combination of online and mobile has overtaken TV for the first time. Consumers want to stay king of their personal data. Source: eMarketer, Accenture analysis 5 4.5 4 3.5 3 2.5 2 1.5 1 0.5 0 1% -4% -14% -24% 19% 2010 20122011 2013 US Average Time Spent per Day with Major Media 2010-2013, Hours per Day CAGR, 2010-13 Source: 2014 Accenture Digital Consumer Survey Sample base: All respondents, N=23000 8 Pulse of media Radio Other Print I’m not confident at all  I’m not always confident  I’m confident  I’m always confident 7% 28% 48% 17% Online Mobile TV Vs. 59% not confident in mature markets Online and Mobile Overtake TV for Mindshare 55% of interviewees are concerned about their personal data 46% not confident in growth markets
  • 9. Mastering disruption in the digital world 9 They must also gain and keep consumer trust if they are to keep this exchange going. Doing so may be a challenge. Our research indicates that 55 percent of digital consumers around the world are concerned about their digital privacy (Exhibit 2), although younger consumers (aged 14-34) generally indicate less concern than those aged 35 and over. Since most of the growth markets in our study had a younger set of respondents than the mature markets, the overall concern in these markets was also lower. How best to gain consumers’ trust? We have found that consumers are frequently willing to share their data in return for a great digital experience, whether in the form of improved recommendations based on preferences or greater relevance, as with location-based services. Some videos on YouTube, for example, now offer the option to “choose a different ad” – providing immediate gratification to the consumer as well as new viewer information to YouTube4 . Businesses will also benefit from minimizing their interference with the user, while communicating their trade-offs in an interesting or humorous way. What does this mean for you? • How can companies best instrument data sets and develop the analytical capabilities required to drive the core processes – pricing, customer acquisition and retention, content offerings, advertising, etc. – necessary to compete in the new world of content creation and acquisition? • How should media companies tailor the consumer experience from screen to screen if they are to aggregate eyeballs, increase engagement and optimize monetization? • What is the right blend of similarities and differences in media content to develop a compelling user experience across screens? • What are the most appropriate ways in which to demonstrate and communicate the privacy-value exchange to the consumer? • How can media companies manage their data in ways that inspire the trust of consumers?
  • 10. 10 Pulse of media Powering the Digital Experience As consumers navigate screens to find the content they want, media and entertainment businesses are evolving to provide new user experiences – whether developing TV programming in Ultra HD, creating consistent multi- screen experiences, or allowing access to live content beyond the living room. The new Ultra HD viewing experience, or 4K, is a technology with four times the pixels of regular HDTV. Many movies and TV programs are already being shot in 4K, content partnerships are forming to distribute 4K programming to consumers and major OEMs are offering 4K TV-sets to consumers at prices comparable to HDTV mass-adoption pricing. At International CES 2014, for example, Vizio announced a $999 50-inch entry-level 4K TV to compete with similarly priced 50-inch TVs already on offer from Chinese players TCL and Seiki5 . A number of infrastructure and cost issues must be addressed before 4K becomes a widespread phenomenon. From a business perspective, 4K poses challenges in encoding as well as management of file size, storage and delivery. From a consumer perspective, delivering 4K video takes significantly more bandwidth than the delivery of HD video, as content must be streamed at 15 Mbps or faster. At the same time, 4K screen technology is backwards-compatible and enhances both SD and HD viewing. As pricing continues to trend downward, our research shows growing consumer demand, with only 2% of respondents currently owning a 4K TV, but 18% expecting to buy one within the next 12 months6 . Regardless of the enhanced TV experience, however, it will be increasingly hard to keep viewers’ eyeballs on just one screen. A consumer may watch TV while messaging with friends on a mobile phone, checking Facebook on a laptop or skimming through the news on a tablet. In our 2013 Pulse of Media study, we noted a 62% concurrency with computers/laptops and 41% concurrency with mobile phones while consumers watched TV. The more personal screens of smartphones and tablets are better suited to social activities, and Social TV – technology that supports communication and social interaction among TV viewers – has become a significant phenomenon. Over 9.1M people viewed one or more Tweets during the Breaking Bad season finale7 and 4.17M Tweets occurred – at a rate of 78,000 Tweets per minute – during the Brit Awards 2014, making it Britain’s most-Tweeted TV show.8 In fact, Nielsen’s SocialGuide, which tracks Twitter TV ratings in real time, indicates that 70% of all airtime Tweets are sent during actual content broadcasts.9 Media businesses clearly need to understand what consumers are doing and where and when they are doing it. While consumers still gravitate to “leaning back” with bigger screens for long-form content, for example, they prefer smartphones and tablets for social activities and shorter form, or “snackable” content (Exhibit 3). Additionally, media businesses need to understand the issues that concern consumers most. For example, our research shows that 86% of consumers have an issue with TV and movie interruptions due to poor home-broadband connections, and most of those would readily pay more for a faster connection (Exhibit 4). British Telecom (BT), for example, has incentivized the digital consumer to purchase high-speed broadband by providing them a reason for faster access - engaging, high quality content like Premier League Football.10
  • 11. Mastering disruption in the digital world 11
  • 12. Exhibit 3: Accessing of content types by device Exhibit 4: Consumer response to video viewing experience over broadband Device usage accessing different types of content. 41% 30% 17% 15% 10% 9%53% Source: 2014 Accenture Digital Consumer Survey Sample base: All respondents, N = 23,000 Source: 2014 Accenture Digital Consumer Survey Sample base: All who streamed content at home * N=13867 *Sample excludes 14-17 years 71% 23% 5% 24% 5% 13% 11% 4% 14% 3% 14% 24% 71% 15% 58% 6% 53% 29% 52% 17% 36% User generated content Gaming Video clips TV Shows/Full length movies News/magazine Sport games or matches Books/textbooks What consumers strongly agree + agree to regarding their home connection. Issue with the network connection for a good video experience Ready to pay more for a better video experience TV/movie interruption and loading issues Slow broadband connection Ready to pay more for faster connection to allow better video quality* Ready to pay more for better broadband connection to watch videos anytime* 86% 71% 62% 60% 12 Pulse of Media
  • 13. Mastering disruption in the digital world 13 In addition, Quality of Service (QoS) expectations for online media services are high as consumers migrate from controlled networks such as cable TV to the more open network of the Internet. In fact, guaranteeing QoS has become a critical success factor for leading Internet services such as Netflix, which just entered a deal with a large US cable company and Internet service provider to give Netflix faster and more reliable access to that company’s subscribers. Successful companies will try to connect and improve the viewer experience in a meaningful way, working both within the context of the experience and with the unique characteristics of the content at hand. Live programming may prove a particular challenge, as it now follows the consumer outside the living room, creating the expectation that live fare such as soccer games, reality shows and concerts will be available on every device. There is immense value in live TV. Events shown live, for example, are still schedule-constrained and have the ability to aggregate large numbers of eyeballs. The BBC drew the highest TV audience of the year in Britain with its live coverage of Scottish tennis star Andy Murray’s 2013 Wimbledon victory11 . And live events are able to extract greater value for ad spots compared to recorded ones. The TV series “The Big Bang Theory” had 20 million viewers in 2012, on par with “Sunday Night Football,” but a 30-second ad spot on “The Big Bang Theory” sold for $275,000 – versus $545,000 for the same 30-second spot on “Sunday Night Football.12 ” Savvy content producers such as Rede Globo in Brazil have long understood the value of live events and been able to develop relevant localized content such as the telenovela Avenida Brazil that is as compelling as live TV, driving real-time linear viewing as much as sports do, even in Brazil. In 2012, Avenida Brasil delivered an average audience of about 46 million viewers every night, taking a 65% market share, with large advertisers such as P&G paying up to $400,000 for a 30-second spot.13 Yet for the content provider, offering live TV outside the living room is very different to offering prerecorded programming. Live TV means real-time streaming captured by one medium and delivered to another, often in a more compressed format, while ensuring the feed does not stall and service quality remains high. Live TV on new screens also requires integrated ad fulfillment, sales and marketing across channels. Adding to this, live TV is becoming a two-way experience, with people at events posting photos and videos, Tweeting and blogging. In this way, Social TV has extended beyond on-the- couch interaction to in-event interaction, with 10,000 Tweets per minute14 sent out at the height of the opening ceremony of the Sochi Winter Olympic Games. As live TV moves to new screens and formats, media companies will need to determine how best to monetize it. NBC Sports Live Extra, which makes NBC content available for live screening on mobile devices, has evolved its mobile advertising model from a pre-roll before the content is streamed to sponsored banner ads – created just for tablets – underneath the as-is, streamed live content.15 As media companies struggle to track consumers across screens, they must also sell and fill ad inventory across those screens. Despite these challenges, today’s media businesses are looking to offer their live content anywhere consumers want it, tracked or not. Perhaps they learned a lesson from the music industry, as many consumers simply pirated what they couldn’t come by honestly. We believe it may be best to understand a new priority: that of enabling consumers and allowing them to take in your content fluidly – wherever, whenever and however they choose. What does that mean for you? • How do media companies address the need for new talent and capabilities required to track, monitor and engage with consumers in a seamless way across media platforms? • What new technical architectures are required for efficient delivery of live and on-demand content across a multitude of connected devices? • What are new and innovative ways for media companies to capitalize on the value of “live experiences”? • What partnerships and collaborations do media businesses need in order to enable new “lean back” experiences while continuing to drive more engaging “lean in” ones?
  • 14. 14 Pulse of Media Last year a number of new business models appeared in the media and entertainment industry that were built around the needs of consumers. This year, many of those new models are taking root, requiring the development of new relationships and understandings in a very diverse and ever-changing industry ecosystem. Media companies face the challenges of new operating models, alternative measurements for advertising, apps for the TV, the continuing breakdown of content distribution windows and growing mainstream use of crowdfunding for media projects. To address these challenges, media and entertainment companies need to begin by rethinking their relationships with other players in the value chain, which is becoming more complex and disaggregated. Large companies such as Apple, Amazon and Netflix seek further vertical integration, even as the media and entertainment ecosystem is made up of increasing numbers of developers, device manufacturers, security and digital rights management companies, aggregation platforms and delivery networks. All of these players are attempting to address the new world of consumer- driven media and entertainment – a world of multiple content formats, on multiple networks, displayed on multiple devices. As media businesses adapt to changing consumer needs, they must also re-imagine how they operate. The challenge of multiple file formats on multiple distribution networks, delivered to a plethora of devices, will push media companies to reconsider the role of their technology departments and the role of operations. They must be tech- savvy to remain competitive. The established and relatively unchanged world of separate IT, engineering and R&D organizations will not provide the strategic agility required to meet consumer demands for content, nor will it provide the means to compete with younger businesses that are unencumbered by legacy systems, thrive off operational change and are able to learn from other companies’ innovations. Internet protocol (IP) based delivery and cloud computing force media companies to be more like web startups with the ability for continuous rapid prototyping and data-driven experimentation. A new set of IT and web-based skills and capabilities are required to keep pace with web and mobile first-disruptors such as YouTube and Instagram. Synchronizing technology and business models will therefore be a key success factor for leading media companies. Simultaneously, new IT-service oriented architectures that orchestrate complex consumer services across devices will need to overcome traditional siloed architectures, and new IT components will take the lead in a traditionally hardware-centric environment, including content management, digital supply chain, recommendation engines and rights management. Additionally, new talent will be required to support evolving technologies and operations. One example of a traditional business making this transition is the BBC, which established a set of fifteen web principles to support its shift to the on-demand world with the launch of the BBC iPlayer, an online TV and radio app. Leaning on the best practices of leading web companies, the principles include “Do not attempt to do everything yourselves,” “Fail forward, fast” and “The web is a conversation.”16 These principles helped change the BBC’s operating model to deliver what is now a very successful example of an on-demand service in the BBC iPlayer. We believe other businesses should follow suit if they are to survive in today’s heavily IP-based operating environment. As media companies evolve their operations to help consumers use multiple screens, advertisers are finding it increasingly difficult to measure the audiences that result. Where the major rating agencies once measured TV and radio audiences, today we find viewers – and content -- screen hopping, making measurements complex and difficult. In fact, effective measurement of TV audiences today requires the analysis of social and buy data from many sources. In addition, with the growth of measurement options and sources of data, there is a need for new commercial products and packages across media that CMOs can understand. Pricing models will need to evolve as well. Measurement will be fundamental to these changes. In response, some businesses are developing new technology to help us understand consumer behavior. Others are aggregating consumer data, designing new technologies to track eyeballs and partnering across media. In October 2013, for example, Nielsen Holdings launched the Nielsen Twitter TV rating. After “following” 12,000 viewers, Nielsen claims that people who watch a show and actively Tweet are more engaged with the content and have better recall of the ads they have just seen than those just watching TV or passively monitoring Twitter while watching.17 Disruption is the New Norm
  • 15. Mastering disruption in the digital world 15
  • 16. 16 Pulse of Media Exhibit 5: Smartphone disruption Source: Pew Research, Ericsson, Accenture analysis Smartphone Usage Pre-iPhone PB per Month; Q1 2007 % of Smartphone Owners Using Feature, 2006 Less than 25% said they wanted to receive e-mail or perform web searches on their phones Revolutionizing the Smartphone Industry. Apple’s iPhone was innovative across three key areas allowing it to gain rapid adoption and redefine the smartphone industry. Smartphone Usage Post-iPhone PB per Month; Q1 2013 % of Smartphone Owners Using Feature, 2012 35% 28% 14% 8% 2% Text Photo Browser E-Mail Video Text Photo Browser E-Mail Video Download Apps Health Info Online Banking 80% 82% 56% 50% 31% 29% 44% 43% 5 180 1510 VoiceVoice 75 DataData
  • 17. Mastering disruption in the digital world 17 As measurements improve and ads shift to new screens, we see the TV itself shifting, becoming “smarter.” Smartphone users once had little interest in doing anything on their mobile devices but talking and texting; now they use it for everything from gaming to reading books (Exhibit 5). We believe that developers will create a similar disruption on the TV. Consumers are already proving they’re ready to watch Internet content on the TV set, whether video clips, user-generated content (UGC), or TV programs and films from online providers via services such as Apple TV and Roku. TVs could also be used to enhance a number of today’s small-screen experiences such as shopping and tutorials. Simultaneously, content distribution windows are continuing to break down. Netflix has already changed the TV distribution model, releasing entire TV seasons at once. Similarly, films are now released in many countries simultaneously, driven by piracy issues and permitted by digital cinema delivery. New content, products and business models require financing, and crowdfunding – seen as a minor disruptive trend only a year ago – is becoming an established source for the media industry, financing 30,201 film, video, music and games projects through 2013 and raising over $350 million for the producers of these projects.18 While crowdfunding has most often been used to prove demand for a tough project, mainstream brands have begun to understand its power. For example, the producers of the film “Veronica Mars” used Kickstarter due to the cult following for the eponymous TV show – raising $5.7 million before production began.19 The movie is set for release on March 14, 2014. Pledge Music has used crowdfunding in a different way, to unlock new value. Its site allows established musicians to raise money by connecting directly to their fans, offering exclusive items and experiences such as the chance to watch the band in the studio. Independent blogger Andrew Sullivan is also tapping into crowdfunding through his new company, Dish Publishing, which has a provocative business model: rather than sell advertising, Dish is supported entirely through subscription revenue using online monetization technology from Tinypass. Tinypass is helping the next generation of premium content owners realize the value of their content by implementing a form of crowdfunding on their own websites.20 What does that mean for you? • What steps must media businesses take to gain the strategic agility to remain competitive in an increasingly tech-savvy world? • What are the technology enablers, capabilities and industry changes required for advertisers to effectively and confidently track consumers across screens, platforms and services? • What new experiences and business models will be opened up with development on TVs? • How do media businesses capture value in a fragmented TV ecosystem? • What is the right set of content windows to allow content creators to optimize revenue while addressing evolving consumer behavior? • How will media companies incorporate crowdfunding into traditional business models?
  • 18. 18 Pulse of Media New trends will continue to emerge and disrupt the media industry. Consumers will remain in control, expecting more and more from their screens of choice. Advanced data and analytics capabilities will allow companies to keep pace with their consumers – but keeping up will be a challenge for many, as new entrants continue to shape evolving consumer expectations and needs. With disruption taking hold as the new normal, media companies must respond by developing operating models and capabilities that allow them to be strategically agile. Those media businesses that can adjust to new opportunities will be well positioned for a place in the new media landscape. The Road Ahead Study methodology The 2014 Accenture Digital Consumer Survey for communications, media and technology (CMT) companies is based on interviews with 23,000 Internet consumers in 23 mature and growth markets around the world. The interviews, which took place during the period October to November 2013, covered a representative sample of the online population aged 14 and up, of which 54% were male and 46% female.
  • 19. Authors and Contributors: Marco Vernocchi Francesco Venturini Robin Murdoch Bikash Mishra Kevan Yalowitz Contacts: Francesco Venturini francesco.venturini@accenture.com Robin Murdoch robin.murdoch@accenture.com Sources: 1. 2014 Accenture Digital Consumer Survey. 2. Apple, “HBO GO & WatchESPN Come to Apple TV.” June 19, 2013. Retrieved from http://www.apple.com/pr/library/2013/06/19HBO-GO- WatchESPN-Come-to-Apple-TV.html. 3. Yahoo Finance, “A look behind the curtain: how Netflix redesigned and rebuilt its television experience.” February 24, 2014. Retrieved from http://finance.yahoo.com/news/look-behind-curtain-netflix- redesigned-150039220.html 4. NY Times, “Commercials, by multiple choice.” October 29, 2011. Retrieved from http://www.nytimes.com/2011/10/30/business/on-hulu-and- youtube-commercials-by-multiple-choice.html. 5. ConsumerReports.org, “Get a 50-inch Vizio Ultra HD TV for only $1,000,” January 8, 2014. Retrieved from http://www.consumerreports.org/cro/ news/2014/01/vizio-p-series-ultra-hd-tv-low-price-1-000-ces-2014/index.htm 6. 2014 Accenture Digital Consumer Survey. 7. Nielson, “The U.S. Digital Consumer Report.” February 2, 2014. Retrieved from http://www.nielsen.com/us/en/reports/2014/the-us-digital-consumer-report.html 8. Metro, “Brit Awards 2014 were a Twitter success – but bombed in the TV ratings.” February 20, 2014. Retrieved from http://metro.co.uk/2014/02/20/brit-awards- 2014-were-a-twitter-success-but-bombed-in-the-tv-ratings-4312514/ 9. Adweek, “Commercial Breaks Aren’t Twitter Breaks” September 18, 2013. Retrieved from http://www.adweek.com/news/advertising-branding/ commercial-breaks-aren-t-twitter-breaks-152507 10. BT. February 27, 2014. Retrieved from http://www.productsandservices.bt.com/products/tv 11. BBC, “Murray Wimbledon final draws highest TV audience of 2013” July 8, 2013. Retrieved from http://www.bbc.com/news/entertainment-arts-23225146 12. Advertising Age, “TV Ad Prices: ‘Idol’ No Match for Football.” October 21, 2012. Retrieved from http://adage.com/article/media/tv-ad-prices-idol-match- football/237874/. 13. Forbes, “Brazilian Telenovela ‘Avenida Brasil’ Makes Billions By Mirroring Its Viewers’ Lives.” October 19, 2012. Retrieved from http://www.forbes.com/ sites/andersonantunes/2012/10/19/brazilian-telenovela-makes-billions-by- mirroring-its-viewers-lives/ 14. ABC News, “SOCHI SCENE: Sochi Digital Olympics.” February 18, 2014. Retrieved from http://abcnews.go.com/Sports/wireStory/sochi-scene-sochi- digital-olympics-22563766. 15. Sports Business Daily, App Review, “NBC Sports Live Extra For iPhone Loaded With VOD, But Heavy On Ads.” November 12, 2013. Retrived from http://www.sportsbusinessdaily.com/Daily/Issues/2013/11/12/Media/App-Review. 16. Tomski, The BBC’s Fifteen Web Principles. February 7, 2007. Retrieved from http://www.tomski.com/archive/new_archive/000063.html and lectures from Mark Thompson in BBC’s Press Office. 17. Hollywood Reporter, NATPE Keynote: Twitter Execs Say Platform Will Impact TV Ad Rates at Next Upfronts. January 27, 2014. Retrieved from http://www.hollywoodreporter.com/news/natpe-keynote-twitter-execs-say-674422. 18. Tech Crunch, “Stats: Facebook Made $9.51 in Ad Revenue Per User Last Year In The U.S. and Canada.” May 3, 2012. Retrieved from http://techcrunch. com/2014/01/08/kickstarter-2013-breakdown/ and Kickstarter, “Kickstarter Stats”. Retrieved from https://www.kickstarter.com/help/stats. 19. Wired, “Kickstarter Has Changed Indie Moviemaking for Good.” January 22, 2014. Retrieved from http://www.wired.com/underwire/2014/01/crowdfunding-2013/ 20. Tech Crunch, “Andrew Sullivan’s Ad-Free Publishing Experiment Sees Six-Figure Revenue In First Six Hours.” January 2, 2013. Retrieved from http://techcrunch.com/2013/01/02/andrew-sullivan-dish-publishing/. Mastering disruption in the digital world 19
  • 20. Copyright © 2014 Accenture All rights reserved. Accenture, its logo, and High Performance Delivered are trademarks of Accenture. About Accenture Accenture is a global management consulting, technology services and outsourcing company, with approximately 281,000 people serving clients in more than 120 countries. Combining unparalleled experience, comprehensive capabilities across all industries and business functions, and extensive research on the world’s most successful companies, Accenture collaborates with clients to help them become high-performance businesses and governments. The company generated net revenues of US$28.6 billion for the fiscal year ended Aug. 31, 2013. Its home page is www.accenture.com. This document is produced by consultants at Accenture as general guidance. It is not intended to provide specific advice on your circumstances. If you require advice or further details on any matters referred to, please contact your Accenture representative. This report makes descriptive reference to trademarks that may be owned by others. The use of such trademarks herein is not an assertion of ownership of such trademarks by Accenture and is not intended to represent or imply the existence of an association between Accenture and the lawful owners of such trademarks.