Eurodata TV and TAPE Consultancy are joining forces to strengthen their expertise in international content. They provide services and reports on international TV trends, multiscreen viewing, and audiences of young adults across 10, 12, and 50 countries. The document discusses strategies for developing audiences with innovative content and strategies, and provides key figures on content creation in 2016 versus 2015, including a 26% increase in the number of countries where original programs were launched. It also highlights examples of innovative content from around the world that performed well with audiences in late 2016 and early 2017.
France has a strong position in documentary productions. French animated productions are also very popular internationally, especially properties that feature adventures. French fiction exports are increasing, with successful co-productions and ready-made series that often over-perform compared to the primetime averages of the channels they air on. Key to France's success is mixing up genres, developing partnerships, and creating original concepts.
Eurodata tv tv viewing trends mip formats 11042015 abstractEurodataTVWorldwide
New TV viewing habits show that consumption is becoming more flexible, with increased time-shifted viewing. The TV ecosystem is also becoming more enriched, with content available everywhere and viewers at the center. Finally, certain TV formats have found worldwide success, such as live events, reality shows, and dramas from strong production brands.
European Series in a Multiscreen Environment_Eurodata TV WorldwideEurodataTVWorldwide
This presentation is an abstract of the introduction at Série Séries held by Sahar Baghery, Head of global research and contents strategy, on July 1st , 2015.
This document discusses trends in television formats and entertainment consumption. It summarizes that entertainment programming such as reality shows, game shows, and comedy shows make up a large percentage of top performing TV shows globally. New dating and competition show formats are gaining popularity. Kids' talent and storytelling shows are bringing families together. Emerging platforms like YouTube and mobile streaming apps are creating new business models and original content to engage younger audiences.
Eurodata TV Worldwide provides audience ratings, content insights, and market intelligence on TV channels and programs globally. They cover over 100 territories across 5 continents and add 200 new channels per year to their database. Eurodata has a team of over 60 experts with experience in the TV industry. They produce reports on children's TV trends in over 25 countries, analyzing the top performing programs and channels for preschoolers and other age groups. These reports help clients understand different markets and position their programs internationally.
This document discusses trends in scripted television series and their reflection of society. It notes that scripted series are very popular, with local series attracting high viewership in many countries. Recent hit series have tackled social and political issues or portrayed family and human relationships. Biopics and dramedies are growing genres. Adaptations are also on the rise in Europe. The analysis suggests scripted series are increasingly addressing questions of responsibility and providing unique perspectives on contemporary society issues.
TV consumption is booming thanks to catch-up & non-linear viewingEurodataTVWorldwide
Sahar Baghery discusses perspectives for distributing European drama content across OTT services, catch-up TV, and online platforms. Consumption of TV programs and online video is increasing, with 60% of 18-34 year olds and 52% of people aged 13+ watching full TV programs online monthly. Linear broadcasters are adapting to non-linear consumption by making shows available online before or at the same time as TV premieres. Distribution is diversifying from linear TV to various online platforms and content is becoming more "glocal" - combining local and global elements.
Eurodata TV and TAPE Consultancy are joining forces to strengthen their expertise in international content. They provide services and reports on international TV trends, multiscreen viewing, and audiences of young adults across 10, 12, and 50 countries. The document discusses strategies for developing audiences with innovative content and strategies, and provides key figures on content creation in 2016 versus 2015, including a 26% increase in the number of countries where original programs were launched. It also highlights examples of innovative content from around the world that performed well with audiences in late 2016 and early 2017.
France has a strong position in documentary productions. French animated productions are also very popular internationally, especially properties that feature adventures. French fiction exports are increasing, with successful co-productions and ready-made series that often over-perform compared to the primetime averages of the channels they air on. Key to France's success is mixing up genres, developing partnerships, and creating original concepts.
Eurodata tv tv viewing trends mip formats 11042015 abstractEurodataTVWorldwide
New TV viewing habits show that consumption is becoming more flexible, with increased time-shifted viewing. The TV ecosystem is also becoming more enriched, with content available everywhere and viewers at the center. Finally, certain TV formats have found worldwide success, such as live events, reality shows, and dramas from strong production brands.
European Series in a Multiscreen Environment_Eurodata TV WorldwideEurodataTVWorldwide
This presentation is an abstract of the introduction at Série Séries held by Sahar Baghery, Head of global research and contents strategy, on July 1st , 2015.
This document discusses trends in television formats and entertainment consumption. It summarizes that entertainment programming such as reality shows, game shows, and comedy shows make up a large percentage of top performing TV shows globally. New dating and competition show formats are gaining popularity. Kids' talent and storytelling shows are bringing families together. Emerging platforms like YouTube and mobile streaming apps are creating new business models and original content to engage younger audiences.
Eurodata TV Worldwide provides audience ratings, content insights, and market intelligence on TV channels and programs globally. They cover over 100 territories across 5 continents and add 200 new channels per year to their database. Eurodata has a team of over 60 experts with experience in the TV industry. They produce reports on children's TV trends in over 25 countries, analyzing the top performing programs and channels for preschoolers and other age groups. These reports help clients understand different markets and position their programs internationally.
This document discusses trends in scripted television series and their reflection of society. It notes that scripted series are very popular, with local series attracting high viewership in many countries. Recent hit series have tackled social and political issues or portrayed family and human relationships. Biopics and dramedies are growing genres. Adaptations are also on the rise in Europe. The analysis suggests scripted series are increasingly addressing questions of responsibility and providing unique perspectives on contemporary society issues.
TV consumption is booming thanks to catch-up & non-linear viewingEurodataTVWorldwide
Sahar Baghery discusses perspectives for distributing European drama content across OTT services, catch-up TV, and online platforms. Consumption of TV programs and online video is increasing, with 60% of 18-34 year olds and 52% of people aged 13+ watching full TV programs online monthly. Linear broadcasters are adapting to non-linear consumption by making shows available online before or at the same time as TV premieres. Distribution is diversifying from linear TV to various online platforms and content is becoming more "glocal" - combining local and global elements.
In the review of international TV trends of 2014, Sahar Baghery, Director of the international TV Formats centre at Eurodata TV Worldwide and Julia Espérance, International Research Manager, note that “in a context of moderate risk-taking, producers and broadcasters are placing greater emphasis on proven televisual genres by activating the emotional dimension."
This document summarizes a presentation on video consumption trends and winning viewer strategies. It discusses how viewers are spending less time watching live TV and more time watching on-demand and online. Specifically, it notes that time-shifted viewing has increased by 15 minutes from 2013 to 2015. It also discusses how online streaming of TV programs has increased 9% from 2015 to 2016, though live streaming only accounts for 1.5% of total viewership. Finally, it presents examples of family-friendly programming from around the world that attracts wide audience demographics.
This document summarizes international kids TV trends based on data from Eurodata TV Worldwide and its partners. It finds that the average daily viewing time for children is highest in Europe at 3 hours and 33 minutes, followed by North America at 2 hours and 32 minutes. Dedicated children's channels are continuing to grow across markets. Animation is the most popular genre for kids' shows in both Europe and Asia, comprising 50% and 66% of top shows respectively. Many animated shows are finding success crossing borders between markets. Multi-platform viewing is also on the rise as kids access content across televisions, smartphones, tablets and computers.
New rules and opportunities in the television industry are creating a changing landscape. Eurodata TV Worldwide provides insights into viewing trends across over 100 territories and 6,300 channels. While average daily viewing times have remained steady, some countries have seen increases as TV integrates new technologies. A transforming ecosystem includes emerging platforms in many regions. Immediacy is changing release timelines, and content remains central to the new economic model as local successes gain international recognition. The future may bring further disintermediation and new designs from broadcasters to engage viewers.
1. LatAm television content is increasingly being distributed globally, with over 100 formats from Latin American countries being launched abroad since 2014. North America leads as the largest importer of LatAm TV formats.
2. Latin American producers are partnering with broadcasters in other regions to co-produce and adapt their television shows in order to reach a wider global audience.
3. Popular Latin American television formats are now being exported and adapted for audiences in new international territories across Africa, Asia, the Middle East, and Europe, reflecting trends and success stories of television made in Latin America going global.
This document summarizes trends in television series across Europe, including:
1) Dramas remain the most popular genre, occupying 78% of top programs across 41 European countries. Turkey and Italy have the most series in national top 10 lists.
2) Broadcasters are adapting to on-demand viewing by making episodes available online before or after airing to increase ratings. Previews online boost later linear broadcasts.
3) Simultaneous online and TV launches of new series increase visibility. Digital strategies like companion apps and social media games further engage audiences.
4) International streaming platforms and local OTT services are producing their own original series, challenging traditional broadcasters for viewers and talent. Both established and
International TV Trends : TV- Therapy: Looking back to move forwards Levalloi...Amandine Cassi
Amandine Cassi, Head of Research, and Julia Espérance Media Consultant, observe that ‘in the face of increasing competition and in a troubled economic context, television – an important social tie – continues its mutation. We are seeing a move upmarket across all genres, which responds to the increasing demands of the public’.
Children's international hits and TV consumption patternsEurodataTVWorldwide
This document summarizes a presentation on children's television consumption patterns internationally. It finds that while household equipment rates for tablets and computers are rising, children still spend significant time watching television each day, averaging 3 hours and 20 minutes in Europe. Local channels remain very popular among children's audiences. Animation content is still prominent across many countries, but factual and live-action programming are growing. Certain animated series like SpongeBob SquarePants and Masha and the Bear remain popular travelling hits across multiple regions. The conclusion emphasizes that television remains children's primary screen and that both local and international broadcasters focus on engaging content like friendship stories to attract young viewers.
FashionTV is a leader in New Media and Broadcasting. Partner with the brand for higher brand visibility, higher turnover, more customers and higher brand value.
European creation in Fiction: Local success, global accessSahar Baghery
European fiction programs are increasingly popular globally. Local European shows dominate new launches, with 68% of programs in 20 territories from 2013-2014 being local creations. Popular genres include drama, investigation, and period drama. Successful European shows are breaking records, with some airing in over 100 territories. Adaptations of European programs are also widespread, with shows adapting globally and within Europe. New models of co-productions and multi-screen viewing are changing the economics of the television industry.
International TV & Content Trends Presentation given at the World Content Market in Moscow, May 30th by Frédéric Vaulpré, Vice-President, EurodataTV Worldwide
Alex Stein - Strategy & Innovation in International MediaHilary Ip
Viacom operates television channels and content in over 182 countries reaching over 4 billion cumulative households. It has a large online presence through websites, social media platforms like Snapchat and YouTube, and over 100 VOD products. It aims to distribute its content across linear TV, online platforms, mobile apps, and experiences to reach audiences wherever they are consuming media. While linear TV remains important, the company recognizes viewership is shifting to online and on-demand viewing. It is developing new content experiences and partnerships to engage audiences across different platforms.
The document discusses the increasing availability of premium online video content and the opportunities this presents. It notes that consumer access to TV shows and movies both current and past is unprecedented. It also discusses catch-up TV viewing habits in the US and increasing online video consumption globally. The key themes are to define success for one's business, match content to various platforms, think beyond traditional markets and business models, and bring strategies back to one's core business.
Roberto Suárez Candel: Trendy ve vysílání evropské veřejné službyJan Brychta
The document summarizes trends affecting European public service broadcasting. It notes increasing complexity from internationalization, market consolidation, and new platforms and devices fragmenting audiences. Consumption trends show television viewing remaining steady while internet use grows, challenging public broadcasters to be where audiences are across platforms. Public trust in media is declining in Europe as public broadcasters struggle with questions around their legitimacy, role, and accountability to citizens, markets, and states. The document argues public broadcasters contribute to European culture, democracy, and innovation if their value is properly understood.
The document discusses a panel on the impact of multiscreen services for content and service providers. The panelists include representatives from Juniper Networks, Motive Television, and 3Vision. They will discuss issues like rights agreements, infrastructure costs, user interfaces, revenues, and regulations around multiscreen services. Motive Television's platform allows audiences to access content anytime on televisions, tablets, computers and smartphones. The impact of multiscreen services comes from incumbent providers wanting to control all screens, while new competitors use the internet to reach viewers without relying on traditional networks. The outcome will depend on who addresses business models, customer experience and efficient content distribution best.
Beeline TV has evolved from a time-shifting concept to a cloud and social TV concept. It provides 191 channels including 23 HD channels through its unified IPTV/OTT platform. All services are accessible through one billing account. In FTTB networks, Beeline TV penetration has reached over 40% in many cities. New opportunities for growth include integrating social networks like Twitter and Facebook and allowing place- and time-shifting of content across devices. Barriers include increasing subscriber involvement in the TV watching experience.
The Top Skills That Can Get You Hired in 2017LinkedIn
We analyzed all the recruiting activity on LinkedIn this year and identified the Top Skills employers seek. Starting Oct 24, learn these skills and much more for free during the Week of Learning.
#AlwaysBeLearning https://learning.linkedin.com/week-of-learning
At the Advertising Research Foundation’s (ARF) 2011 annual re:think convention, a key issues forum presentation was held entitled Understanding the Relationship Between Social Media and TV Viewership. The presentation used a case study on the World cup to present findings. Presenters included, Jon Gibs-SVP at The Nielsen Company & David Coletti-VP at ESPN.
The document provides viewership data for Pakistani TV channels for April 2012. It summarizes that:
- Daily average viewing time dipped 8% for C&S audience and 11% for non-C&S audience compared to the previous month.
- For entertainment channels, Ary Digital and TV One gained share while Hum, Geo Ent and Express Ent lost share. For news channels, Ary News gained the most while Aaj TV and Geo News lost share.
- 8XM led the music channels but lost share. For regional channels, Apna Channel lost share while Apna News gained. For food channels, Masala maintained the highest viewership.
The document analyzes reach data
Médias sociaux au moyen orient et afrique du nord par Naguib TOIHIRINaguib TOIHIRI
A la fois source d’information et lieu d’échange, l’utilisation des médias sociaux est devenue incontournable dans le monde Arabe. Cette présentation illustre cette révolution digitale à travers les principaux médias sociaux (Facebook, Twitter et Youtube)
In the review of international TV trends of 2014, Sahar Baghery, Director of the international TV Formats centre at Eurodata TV Worldwide and Julia Espérance, International Research Manager, note that “in a context of moderate risk-taking, producers and broadcasters are placing greater emphasis on proven televisual genres by activating the emotional dimension."
This document summarizes a presentation on video consumption trends and winning viewer strategies. It discusses how viewers are spending less time watching live TV and more time watching on-demand and online. Specifically, it notes that time-shifted viewing has increased by 15 minutes from 2013 to 2015. It also discusses how online streaming of TV programs has increased 9% from 2015 to 2016, though live streaming only accounts for 1.5% of total viewership. Finally, it presents examples of family-friendly programming from around the world that attracts wide audience demographics.
This document summarizes international kids TV trends based on data from Eurodata TV Worldwide and its partners. It finds that the average daily viewing time for children is highest in Europe at 3 hours and 33 minutes, followed by North America at 2 hours and 32 minutes. Dedicated children's channels are continuing to grow across markets. Animation is the most popular genre for kids' shows in both Europe and Asia, comprising 50% and 66% of top shows respectively. Many animated shows are finding success crossing borders between markets. Multi-platform viewing is also on the rise as kids access content across televisions, smartphones, tablets and computers.
New rules and opportunities in the television industry are creating a changing landscape. Eurodata TV Worldwide provides insights into viewing trends across over 100 territories and 6,300 channels. While average daily viewing times have remained steady, some countries have seen increases as TV integrates new technologies. A transforming ecosystem includes emerging platforms in many regions. Immediacy is changing release timelines, and content remains central to the new economic model as local successes gain international recognition. The future may bring further disintermediation and new designs from broadcasters to engage viewers.
1. LatAm television content is increasingly being distributed globally, with over 100 formats from Latin American countries being launched abroad since 2014. North America leads as the largest importer of LatAm TV formats.
2. Latin American producers are partnering with broadcasters in other regions to co-produce and adapt their television shows in order to reach a wider global audience.
3. Popular Latin American television formats are now being exported and adapted for audiences in new international territories across Africa, Asia, the Middle East, and Europe, reflecting trends and success stories of television made in Latin America going global.
This document summarizes trends in television series across Europe, including:
1) Dramas remain the most popular genre, occupying 78% of top programs across 41 European countries. Turkey and Italy have the most series in national top 10 lists.
2) Broadcasters are adapting to on-demand viewing by making episodes available online before or after airing to increase ratings. Previews online boost later linear broadcasts.
3) Simultaneous online and TV launches of new series increase visibility. Digital strategies like companion apps and social media games further engage audiences.
4) International streaming platforms and local OTT services are producing their own original series, challenging traditional broadcasters for viewers and talent. Both established and
International TV Trends : TV- Therapy: Looking back to move forwards Levalloi...Amandine Cassi
Amandine Cassi, Head of Research, and Julia Espérance Media Consultant, observe that ‘in the face of increasing competition and in a troubled economic context, television – an important social tie – continues its mutation. We are seeing a move upmarket across all genres, which responds to the increasing demands of the public’.
Children's international hits and TV consumption patternsEurodataTVWorldwide
This document summarizes a presentation on children's television consumption patterns internationally. It finds that while household equipment rates for tablets and computers are rising, children still spend significant time watching television each day, averaging 3 hours and 20 minutes in Europe. Local channels remain very popular among children's audiences. Animation content is still prominent across many countries, but factual and live-action programming are growing. Certain animated series like SpongeBob SquarePants and Masha and the Bear remain popular travelling hits across multiple regions. The conclusion emphasizes that television remains children's primary screen and that both local and international broadcasters focus on engaging content like friendship stories to attract young viewers.
FashionTV is a leader in New Media and Broadcasting. Partner with the brand for higher brand visibility, higher turnover, more customers and higher brand value.
European creation in Fiction: Local success, global accessSahar Baghery
European fiction programs are increasingly popular globally. Local European shows dominate new launches, with 68% of programs in 20 territories from 2013-2014 being local creations. Popular genres include drama, investigation, and period drama. Successful European shows are breaking records, with some airing in over 100 territories. Adaptations of European programs are also widespread, with shows adapting globally and within Europe. New models of co-productions and multi-screen viewing are changing the economics of the television industry.
International TV & Content Trends Presentation given at the World Content Market in Moscow, May 30th by Frédéric Vaulpré, Vice-President, EurodataTV Worldwide
Alex Stein - Strategy & Innovation in International MediaHilary Ip
Viacom operates television channels and content in over 182 countries reaching over 4 billion cumulative households. It has a large online presence through websites, social media platforms like Snapchat and YouTube, and over 100 VOD products. It aims to distribute its content across linear TV, online platforms, mobile apps, and experiences to reach audiences wherever they are consuming media. While linear TV remains important, the company recognizes viewership is shifting to online and on-demand viewing. It is developing new content experiences and partnerships to engage audiences across different platforms.
The document discusses the increasing availability of premium online video content and the opportunities this presents. It notes that consumer access to TV shows and movies both current and past is unprecedented. It also discusses catch-up TV viewing habits in the US and increasing online video consumption globally. The key themes are to define success for one's business, match content to various platforms, think beyond traditional markets and business models, and bring strategies back to one's core business.
Roberto Suárez Candel: Trendy ve vysílání evropské veřejné službyJan Brychta
The document summarizes trends affecting European public service broadcasting. It notes increasing complexity from internationalization, market consolidation, and new platforms and devices fragmenting audiences. Consumption trends show television viewing remaining steady while internet use grows, challenging public broadcasters to be where audiences are across platforms. Public trust in media is declining in Europe as public broadcasters struggle with questions around their legitimacy, role, and accountability to citizens, markets, and states. The document argues public broadcasters contribute to European culture, democracy, and innovation if their value is properly understood.
The document discusses a panel on the impact of multiscreen services for content and service providers. The panelists include representatives from Juniper Networks, Motive Television, and 3Vision. They will discuss issues like rights agreements, infrastructure costs, user interfaces, revenues, and regulations around multiscreen services. Motive Television's platform allows audiences to access content anytime on televisions, tablets, computers and smartphones. The impact of multiscreen services comes from incumbent providers wanting to control all screens, while new competitors use the internet to reach viewers without relying on traditional networks. The outcome will depend on who addresses business models, customer experience and efficient content distribution best.
Beeline TV has evolved from a time-shifting concept to a cloud and social TV concept. It provides 191 channels including 23 HD channels through its unified IPTV/OTT platform. All services are accessible through one billing account. In FTTB networks, Beeline TV penetration has reached over 40% in many cities. New opportunities for growth include integrating social networks like Twitter and Facebook and allowing place- and time-shifting of content across devices. Barriers include increasing subscriber involvement in the TV watching experience.
The Top Skills That Can Get You Hired in 2017LinkedIn
We analyzed all the recruiting activity on LinkedIn this year and identified the Top Skills employers seek. Starting Oct 24, learn these skills and much more for free during the Week of Learning.
#AlwaysBeLearning https://learning.linkedin.com/week-of-learning
At the Advertising Research Foundation’s (ARF) 2011 annual re:think convention, a key issues forum presentation was held entitled Understanding the Relationship Between Social Media and TV Viewership. The presentation used a case study on the World cup to present findings. Presenters included, Jon Gibs-SVP at The Nielsen Company & David Coletti-VP at ESPN.
The document provides viewership data for Pakistani TV channels for April 2012. It summarizes that:
- Daily average viewing time dipped 8% for C&S audience and 11% for non-C&S audience compared to the previous month.
- For entertainment channels, Ary Digital and TV One gained share while Hum, Geo Ent and Express Ent lost share. For news channels, Ary News gained the most while Aaj TV and Geo News lost share.
- 8XM led the music channels but lost share. For regional channels, Apna Channel lost share while Apna News gained. For food channels, Masala maintained the highest viewership.
The document analyzes reach data
Médias sociaux au moyen orient et afrique du nord par Naguib TOIHIRINaguib TOIHIRI
A la fois source d’information et lieu d’échange, l’utilisation des médias sociaux est devenue incontournable dans le monde Arabe. Cette présentation illustre cette révolution digitale à travers les principaux médias sociaux (Facebook, Twitter et Youtube)
The Indian entertainment industry is growing rapidly and is expected to reach $29 billion by 2018, driven primarily by television. The television segment currently dominates with 45% market share. Within television, kids channels are very popular, enjoying 6.4% viewership, behind only general entertainment channels. The proposed new channel, CN90, will target kids aged 4-14 years as well as young adults aged 25-32 years through classic cartoons from the 1990s. It will launch on April 20th, 2015 through a television, outdoor, social media, and digital marketing campaign costing $1.82 million to promote bringing back beloved cartoons of the past.
Early humans lived in Africa and spread across the world as hunters and gatherers over tens of thousands of years. They lived in bands of related families that worked together to collect plant foods like roots, nuts and fruits, and hunted animals for meat, tools, and clothing. As food sources became scarce, bands migrated to new locations or followed animal migrations. Around 35,000 years ago, an ice age caused sea levels to drop and land bridges to form, allowing human migration to different parts of the world where distinct cultures developed over time.
This document discusses the history of milk and dairy consumption by humans. It provides evidence that dairying first emerged in the Middle East around 4000-6000 BP with the domestication of animals like goats, sheep, and cattle. It then spread to Europe and other parts of the world. The document also discusses genetic adaptations that allow some human populations to digest lactose as adults, known as lactase persistence. It finds that two major global variants associated with this trait likely emerged independently, one in Europeans linked to a SNP at -13,910 BP (T-13910) and another in Middle Easterners involving a compound allele of SNPs at -13,915 BP and -3,712 BP in related genes. This suggests
Martin Coady of VML Presents - The Cartoon Network - When Your Site Can't Be ...Acquia
Cartoon Network EMEA approached VML to design new sites and implement a new CMS for their 11 European sites. They needed a system that supported multiple languages and sites while sharing common elements, flexible design, easy updates by non-technical staff, and video/ad integration. VML recommended Drupal due to its creative freedom, ability to meet these needs, and their success with previous Drupal sites. They implemented Drupal across the Cartoon Network sites, allowing centralized management of multilingual content while enabling localized design updates. This provided a reusable and extensible system to power their digital presence.
The document discusses early hunters and gatherers from the prehistoric period. It provides context about prehistory and defines key terms like archaeology, artifacts, and migration. The main points covered include:
1) Archaeologists study past cultures through remnants like tools and buildings to learn about prehistoric peoples who left no written records.
2) During the Ice Age, sea levels were lower and a land bridge connected Asia to North America, allowing early humans to migrate across in search of resources.
3) Important archaeological sites that have expanded our understanding of early human migration patterns to North America include Clovis, NM dated to 11,000 years ago, Monte Verde, Chile dated to 12,500 years
Google realized that Africa is a promising continent. Indeed, Africa is changing very fast and becoming one of the most dynamic regions of the world, refers to recent IMF figures, with an annual GDP increase of 5 % !
Indian television was introduced in 1959 and grew rapidly through the 1980s as more households acquired TV sets. Doordarshan was the sole channel until liberalization in the 1990s led to hundreds of new private channels. Today, Indian TV is a 370 billion rupee industry with over 500 channels viewed by 415 million people across over half of Indian households. The industry is expected to grow substantially through 2018 as digitization increases access to more content and viewership grows. New technologies like smart TVs and online videos present both opportunities and challenges for the future of television in India.
The document provides an analysis of venture capital investment data in Europe and Israel for the second quarter of 2016. Some key points:
- Europe and Israel saw $4 billion invested in 470 venture deals in Q2 2016, setting new records.
- Israel had the highest total investment volume of any country at over $1.3 billion, followed by Germany and the UK.
- Average round sizes increased slightly and were around $12 million.
- Excluding seed deals, Israel had the most announced deals at 73, followed by the UK with 50 and DACH region with 40.
- Corporate venture capital activity increased, with Israel seeing the most corporate deals at 25 and the UK seeing 10.
Alan Weinkrantz, Rackspace’s Brand Ambassador to Israel, shares his insights on Israel’s startup and innovation economy at Café Commerce / San Antonio.
Weinkrantz has traveled to Israel more than 50 times in the last 20 years and has just returned from an initial four month engagement to introduce and promote the Rackspace Startups program. Israel is now the world’s second largest startup ecosystem after Silicon Valley and ranked. He returns to Israel April 4.
Weinkrantz is a contributing columnist to "The Times of Israel" and "Geektime," where he covers the narrative of the startup economy.
In this talk Weinkrantz will shares his insights, compelling facts, photography and his view of how and why Israel has become a startup and innovation economic power house that last year saw over $3 billion in startup exits.
X-Series: Metrics 2014: Smart Data and Social MediaIAB Canada
Presentation from Franz Fontaine, VP Strategy, Seevibes at IAB Canada's X-Series Metrics 2014 in Toronto:
It’s a fact; television is one of the most talked about subjects in social media. Capturing and harnessing the enriched social data around these conversations is a key variable when planning and buying TV. It’s basically the only proof of engagement of a television property. Franz explores data availability (it is available!) and how the enrichment process can deliver empirical units of TV performance. Understanding the interests/consumption habits of the Social TV audience provides actionable insights that can be empirically measured against sound KPI’s. Franz looks at the L’Oréal use case, key takeaways and the opportunity of social TV audience retargeting.
This document summarizes a market discovery session focused on Latin America that took place on November 19th, 2014 in Cancun, Mexico. It discusses trends in the Latin American television market including the strong potential of entertainment brands and series as a driving genre. Fiction programming dominates new launches and local entertainment attracts family audiences while international formats continue to spread globally. Content consumption is moving beyond traditional television to new platforms and a growing digital generation is embracing multi-screen and on-demand viewing.
Юрий Хазанов - Как телеканалы могут выиграть от Интернет: кейсы YouTubeTVbusinessconference
Broadcasters can be successful on YouTube by promoting their content, monetizing short and long form videos, and engaging with audiences. For example, Channel 4 uploads full episodes of popular shows to YouTube, doubling their revenue. Reshet TV in Israel uploaded performances from their top show "The Voice Israel" to YouTube, increasing views by 200% and revenue by 268% while also gaining 100% more subscribers. Broadcasters can use YouTube to promote their other platforms and drive traffic while also selling ads against their YouTube content for additional revenue.
Audiovisual markets in the European Union - Video sharing platforms and their...Christian Grece
The audiovisual market in the EU is evolving as viewing habits change, especially among younger generations. While revenues for paid audiovisual services are growing, free online viewing is increasing and challenging television. Advertising spending is shifting online to follow audiences. Online video sharing platforms like YouTube and Facebook now capture over half of global online video advertising revenues, competing with television for ad budgets. Younger viewers in particular are consuming more content online and on mobile devices. This has implications for traditional audiovisual players and their ability to reach audiences and adapt to the new landscape. A few major online video platforms have become a "discovery oligopoly" for audiovisual content online, potentially influencing how people access information, entertainment and education in the future.
1Finity Final Presentation (Light Version)Vincent Ledoux
This is the presentation of my eMBA thesis defence (June 2016).
eMBA "Leading Innovation in a Digital World" at Mines-Telecom-Institute.
How a traditional French TV channel could find a new growth driver following viewer’s expectation.
This document provides an overview of the media conglomerate Viacom. It discusses Viacom's founding, leadership, headquarters, total assets, website, advertising slogan, vision statement, mission statement, industries and businesses it operates in, revenues, global market share, and leading competitors around the world. It also outlines Viacom's major brands like MTV, Nickelodeon, BET, their respective market shares, as well as Viacom's marketing strategies for growth projections.
Global channels distribution TV is everywhereSahar Baghery
This document summarizes trends in global TV distribution and consumption. It finds that while terrestrial TV households still dominate in some countries, cable, satellite, and IPTV subscriptions are growing globally. TV content is also becoming available across more devices and platforms, with increased time-shifted and on-demand viewing on tablets, PCs, smartphones, and streaming services. Content owners are partnering with streaming platforms to access new audiences. Overall, TV habits are rapidly evolving, and both linear and non-linear viewing options are becoming more complementary as distribution continues to expand globally.
Oline broadcasting in Germany. Business models and market trends, Speech of G...Goldmedia Group
Speech of Goldmedia Managing Director Dr. Klaus Goldhammer "Online broadcasting in Germany. Business models and market trends" at AEPO-ARTIS Seminar "Performers' rights in today's European environment: how to adapt existing rights to new uses of performances? on 18-19 November 2010 in Brussles. ny.
The explosive growth of TV connected devices is driving rapid change for the TV industry. ADI found that TV connected device (TVCD) sales are up 143% year over year (YoY). In addition, TVE time spent viewing on connected devices is up 149% YoY.
New audiovisual services and potential impacts on productionGIlles Fontaine
New audiovisual services are growing fast but still represent a minor part of the overall audiovisual sector revenues. Only a few major streaming platforms like Netflix significantly invest in original content production through pre-financing. As distribution costs decrease for online platforms, there is an opportunity for more direct-to-consumer productions however this also increases competition. Broadcasters may rebalance budgets towards high-end international TV series co-productions to incentivize consumers as demand increases for high quality content.
MVMNT Media, LLC is comprised of three Over-The-Top (OTT), Advertising Video-On-Demand (AVOD) streaming TV channels; MVMNT TV (at launch stage), Monfasports TV and Cinemeo (both in developmental stage), with each brand also comprising of a LINEAR channel. The focus of this prospectus is the AVOD and the LINEAR channel of MVMNT TV. Currently the streaming OTT market growth is driven by Subscription Video-On-Demand (SVOD) and hybrids like Hulu and CBS All Access.
Subscription video on-demand (SVOD) market challengers like Disney+, AT&T’s HBO Max and NBC/Universal have prepared their own streaming app launches over the next weeks and months. Free channels are preparing their own challenge for market share with launches of free channels with content like Tubi TV and PopTV. These channels appeal to potential viewers who aren’t interested in paying a monthly or yearly streaming subscription. These platforms offer free content and generate revenue by serving targeted advertisements (Programmatic Advertising) during commercial breaks. With 157,000 regular viewers, Pop TV generated $68M in ad revenue for 2018. Some of the revenue was from product placement and ad integration.
The MVMNT TV AVOD channel is available and free to download on 80 million TV’s, tablets and devices: Android, iOS and Apple TV, Amazon Fire TV, Chromecast and Roku.
MVMNT TV’s linear channel Is delivered via Virtual Multichannel Video Programming Distributor (vMVPD); also referred to as streaming TV services, vMVPDs aggregate live and on-demand TV and deliver the content over the internet linearly. vMVPD services resemble the similar layout of cable packages allowing users to browse a guide or flip through channels that stream programming 24 hours a day. These services are often used by recent cord-cutters who want to keep select channels from their cable packages but at a lower price.
vMVPD services include Sling TV, Hulu Live TV, YouTube TV, DirecTV Now, fuboTV, PlayStation Vue, Viacom’s Pluto TV and Xumo. According to Rich Greenfield of BTIG, paid vMVPD subscribers hit a high of 7.7 million last year. This is expected to grow: vMVPDs gained a combined 2.1 million subscribers over the first nine months of 2018, according to a recent Conviva study, which correlated the loss of 2.8 million subscribers for cable and satellite during the same time period.
IFFTV is a proposed TV channel dedicated to film festivals, entertainment, music, and the film/broadcasting industry. It will be a fusion of online, mobile, and satellite platforms promoting films, festivals, and related services globally. The channel aims to support international film festivals and the film industry through television's multimedia potential for information dissemination and interactivity. IFFTV's business model involves franchise partnerships, co-branding with film festivals, advertising, and sponsorship to generate revenue. The founders believe IFFTV can succeed by serving the niche market of the film/broadcast industry well.
M6 is a French multimedia group established in 1987 that achieves high audience levels across its family of television channels. It strives to promote its content across multiple broadcasting platforms and offers a broad range of multimedia products and services supported by its diversification activities and strong audiovisual brands. With the digital revolution, M6 is now heavily involved in new technologies like mobile and internet while retaining its positions in press, cinema, and video. It has free-to-air television channels, produces films, and operates digital channels and internet properties. M6 also engages in diversification activities and exploits its audiovisual rights through products, licenses, and services.
This document discusses branding and positioning strategies for Aaj News television channel. It provides insights into viewer trends, competition analysis, and genre trends in Pakistan's television industry from 2008-2010. It highlights that understanding the brand story, following the viewer, and studying trends are important issues to consider for branding. The document advocates developing a unique brand attitude and positioning the channel through effective communication of its story to audiences.
What can media companies do to cope with change? What is required to evolve from a Content is King to a Content and UX are both kings mentality?
About Johannes
Johannes is currently C More Chief and SVP Consumer Business at MTV Oy, where he has been since August 2016.
Johannes rebranded and re-positioned the consumer business and launched the new C More SVOD service in April 2017 with the aim to be the local No1 in Premium streaming services. Previously he was CEO of Viasat in Finland and the Baltics. During this time the Viaplay SVOD service was launched in all territories and became one of the leading services challenging Netflix.
Johannes has extensive experience in media and digital services.
The document argues that TV remains an effective and popular medium. It provides evidence that TV viewing hours have remained steady for 15 years, TV is constantly on consumers' minds, and TV amplifies other media by driving traffic online. The document also shows that TV advertising leads to immediate sales uplifts and long-term brand value through increased awareness, fame, and emotional associations.
Star TV wanted to promote its new shows airing on channels like Star Plus. It used location-based service Buzz to deliver exclusive trailers and promos of upcoming shows to audiences' mobile devices. Buzz hotspots in cafes, restaurants, malls and train stations across 18 cities provided mini Star TV channels on users' fingertips. Over 3.3 lakh engagements were achieved in a month, exceeding expectations, with each user viewing an average of 7 pieces of content and 25% being repeat users, showing the solution generated interest in Star TV's programs.
Deviprasad Goenka Management college of Media Studies
http://www.dgmcms.org.in/
Subject:BRAND BUILDING
Lesson :Size of m&e industry
Faculty Name: Vishal Desai
Similar to The Global Dynamics of TV: Focus on Middle East (20)
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https://ml.dssconf.pl/user.html#!/lecture/DSSML24-041a/rate
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https://www.youtube.com/@FLaNK-Stack
https://medium.com/@tspann
https://www.datainmotion.dev/
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1. Discop Dubai
Jan 29th 2017
Global dynamics of TV
Jacques BALDUCCI
International Sales Director
2. 200 flagship clients among broadcasters, studios,
platforms, producers & content distributors
Access to a unique volume of TV data
Long-lasting relationships with worldwide TV measurement institutes
Eurodata TV
3. What are the key figures of
content creation in 2016?
1
4. 49 territories – January 1st – December 4th 2016 / Evolution vs 2015 on comparable scope 42 territories
Eurodata TV Worldwide / Relevant partners – All rights reserved
53%
Are original creations
Creativity is still there in 2016
VS 2015
8 350
New
programs
TV+SVOD
in 2016
=
6. A global ecosystem, more and more alliances
Original programs
launched
2016 vs 2015
Expansion
190
countries
200
countries
+26%
Public Commercial
Public Pay TV
Broadcasters SVOD
New partnerships
Eurodata TV Worldwide / Relevant partners – All rights reserved
7. The increase of mobile usages influences content creation
Sources : Multiscreen Report 2016 Edition 1 with : (1) IAB Mobile Video Usage / Smartphone users in 24 countries / (2) Comscore – UK Digital Future in Focus – Adults 15+
Eurodata TV Worldwide / Relevant partners – All rights reserved
Video viewing on
smartphones
almost every day
+46%
2015 vs 2014
58%
Smartphone video viewers
watch a short video at least
once a day
Short formats:
Base : 24 countries
10. Entertainment: same recipes, new ingredients
42 territories – January 1st – December 4th 2016 (Comparable scope 2015)
Eurodata TV Worldwide / Relevant partners – All rights reserved
39%Of entertainment keywords
Celebrities
Challenge
Family
on average
2016 vs. 2015
Factual/entertainment keywords
Infotainment
Experiment
Society
+15%
QuizCooking Show
Music
Talent Quest
These words represent…
11. Hits to come
Eurodata TV Worldwide / Relevant partners – All rights reserved
Look Me In The Eye
Producers: Redseven
Entertainment/CPL production
Distributor: Red Arrow
International
Country of production: Germany
Channel: ProSieben
Beat Shazam
Producer: Shazam Entertainment
Limited
Country of production: USA
Channel: Fox
2017
Familiar Taste June
2016
Producers: Zheijang SAT/Purity
Media
Distributor: FremantleMedia
International
Country of production: China
Channel: Zheijang Sat
2017
13. Middle East Focus – Key Facts
Middle East Strong TV viewers
List of countries included in Middle East in 2015: Armenia, Azerbaijan, Bahrain, Egypt, Iraq, Israel, Jordan, Kazakhstan, Kuwait, Lebanon, Oman, Qatar, Saudi Arabia, Syria, Turkey, United Arab Emirates.
From the above-listed countries, only Armenia, Azerbaijan, Israel, Lebanon, Turkey and the United Arab Emirates have people meter systems.
Period: 2015 – 3.8 billion viewers (World TV audience)
Médiamétrie / Eurodata TV Worldwide / Relevant Partners – All rights reserved
NORTH AMERICA
4h29
SOUTH AMERICA
3h38
AFRICA
3h12
OCEANIA
3h09
ASIA
2h32
MIDDLE EAST
3h54
EUROPE
3h55
Viewing time
WORLDWIDE
3h03
World Average Viewing Time
on 89 countries
14. Middle East – Production Facts
Fiction leading the new launches
List of countries included in Middle East in 2015: Egypt, Israel, United Arab Emirates, Turkey, Lebanon, Saudi Arabia
Period: 1st January - 4th December 2016
Médiamétrie / Eurodata TV Worldwide / Relevant Partners – All rights reserved
17%
24%
59%
Entertainment:
Factual:
Fiction:
Realities, game shows, variety
shows & comedy shows
Documentaries, docu soaps,
magazines, talk shows & reality shows
Series, mini-series, sitcoms,
telenovelas & soap operas
+640
New Programs
launched
TV+Online
in 2016
15. Middle East – Content with new Narratives
Living or Acting a real-life role?
Médiamétrie / Eurodata TV Worldwide / Relevant Partners – All rights reserved
Dec.
2016
Producers: Teddy Productions
Distributor: Reshet Broadcasting
Produced in: Israel
Channel: Channel 2
Jun.
2016
Producer: i Productions / Al
Shorouk / JWT Entertainment
Produced in: Egypt
Format: 30x60 min
Channel: MBC4
Dumb Sept.
2016
Producer: Dori Media Darset, HOT
Produced in: Israel
Format : 50 / 2 Seasons x 35 min
Channel: HOT3
Afrah Al Qubba
Commercial Target
1st Episode
+33%
Lezvi Yesh Baayah
Audience
Mkt Share vs
timeslot
Target
No. episodes
16. Middle East – Content with new Narratives
Pleading for a Modern Society
Médiamétrie / Eurodata TV Worldwide / Relevant Partners – All rights reserved
AL SADMA Jun.
2016
Producers: O3 Productions / Yara
Media
Distributor: O3 Productions
Produced in: United Arab Emirates
Format: 30x45 min
Channel: MBC1
Sept.
2016
Producers: Al Kahera Wal Nas /
Ebdaa
Distributor: Al Kahera Wal Nas
Produced in: Egypt
Channel: Al Kahera Wal Nas
Panim Amitiyot:
Hacharadiot
May.
2016
Producers : Kastina Productions
Produced in: Israel
Format : 3x60 min
Channel: Channel 10
Al Abakera
20-44
30 eps. UAE
x3.6 times +78%
Ind. 4+
4 eps. Israel
Audience
Mkt Share vs
timeslot
Target
No. episodes