Synthèse étude IDATE 010908 EN

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The New Audiovisual Formats Jacques BAJON (project leader) Florence LE BORGNE, Jean-Yves LE MOINE, Sophie GIRIEUD, Gilles FONTAINE May 2008 70134 / JB / FLB The new audiovisual formats The New Audiovisual Formats Broadband Internet, both mobile and fixed, mobile television, generate the apparition of new audiovisual formats, in addition to made-for-TV shows and movies ( who can be shown through the Internet as well, possibly after being reformatted): • Professional content, specifically produced for the new distribution networks; • User Generated Content, produced by consumers. The new audiovisual format market is a product of the evolution of content use, of technology and of business models: • Evolution of content use: - The users’ desire to consume pictures, every possible picture, when and where they want, on every kind of terminal. - A new generation of « multi-users » of the different terminals and services : television, MP3 walkmen, mobile, etc. - Emergence of web 2.0 and especially of social networks which favor participative behavior where collective intelligence unfolds. • Technological evolutions: - Increased video functions of mobile phones. - Increase of the market accessible through broadband and of video consumption. - Creation of « metadata » (or data « around » the program) and of monitoring tools which make it possible to describe the audience to the advertisers. - Development of digital ...

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• Publié par: Assa
• Nombre de lectures: 48
• Langue: English

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The New Audiovisual Formats

Jacques BAJON (project leader) Florence LE BORGNE, JeanYves LE MOINE, Sophie GIRIEUD, Gilles FONTAINE May 2008 70134 / JB / FLB

The new audiovisual formats

The New Audiovisual Formats Broadband Internet, both mobile and fixed, mobile television, generate the apparition ofnew audiovisual formats, in addition to madeforTV shows and movies ( who can be shown through the Internet as well, possibly after being reformatted): •content, specifically produced for the new distribution networks; Professional • UserGenerated Content, produced by consumers. The new audiovisual format market is a product of the evolution of content use, of technology and of business models: •Evolution of content use:  Theusers’ desire to consume pictures, every possible picture, when and where they want, on every kind of terminal.  Anew generation of « multiusers » of the different terminals and services : television, MP3 walkmen, mobile, etc.  Emergenceof web 2.0 and especially of social networks which favor participative behavior where collective intelligence unfolds. •Technological evolutions:  Increasedvideo functions of mobile phones.  Increaseof the market accessible through broadband and of video consumption.  Creationof «metadata »(or data «around »the program) and of monitoring tools which make it possible to describe the audience to the advertisers.  Developmentof digital rights management tools, which make it possible to manage billing and the number of copies and viewings allowed. •Economic evolutions  Widespreaduse of image making tools;  Generalisationof through rate access to fixed and mobile Internet. How should the distribution of the new formats be organized? •« Acrossplatform »distribution will increase.The trend will thus be to think of the new formats together with the Web and with television,instead of segmenting media by media.In particular, television channels tend to secure multi platform rights. •Producerstherefore have to choose between getting revenue by selling their rights outright or by direct exploitation via third party platforms, which generally takes the form of revenuesharing. • Nextto the television stations emerge nex aggregators: telecommunications operators and Internet “pure players”  Thetraditional model, where the portal owns certain telecommunications operators is progressively replaced by the aggregation of third party services.  TheInternet operators include portals and Internet search engines like Google Video, MSN Video or Yahoo! Video, but also new video specialists like Brightcove, Veoh Networks Babelgum, Joost, YouTube, Dailymotion. Most of them tend to privilege a “midtail”strategy which favors abundant low cost content rather than the production or acquisition of premium content.

June 2008

IDATE

The new audiovisual formats

• Inthis context, partnerships between service platforms and rights holders develop. On one side, thiscontent syndication system guaranteesthe service providers a source of programs, on the other side, the content providers are guaranteed from the start to get a part of the platforms’ profits. In the final analysis, the different participants share the risks. The business models •Free video services, financed by advertising,should multiply as the on line advertising market and the efficiency of advertising tools progress. They will be at the heart of the market, particularly on the Web. • Onthe pay market, which today mainly means pay per view, throughrate multiservice offersare called to increase. This through rate model seems particularly suited to the mobile market as billing is easier than on the fixed market. Content industry players’ positioning •Content providerscan profit from today’s favorable circumstances:  Wideraccess to audiovisual technology makes it possible fora new generation of content producersemerge, talented amateurs and semiprofessionals, towho know how to use production techniques which cost lessthan television programs.  Newopportunities exist today forrightsholders, Web and mobile TV players because of the dearth of welladapted content. On the Web, all of the platforms (YouTube, Dailymotion, Eyeka, Joost..) are thus in demand of professional content but cannot finance original production. •New opportunities appear for the television stations,if they manage to evolve towards more individual modes of consumption by the users (going towards a “pull” mode) without losing control over the editorial phase of content aggregation, which is at the heart of their business. • Themarket of new formats is more globalized than the one of television. Today, the adaptation of content for Web and mobile is gradually joined by the big American studios, while not the all of the European studios have integrated this strategy yet. However, even if the United States appear to have a time beforehand, the American contents with success on these new media are not allways exportable contents in Europe. How can the critical mass be reached? •reach the critical mass, it is necessary to promote a system based on increased Tocooperation between the different players along the value chain : producers, distributors, operators, advertisers. Such a convergence should also entice the players of this evolving industry to reinvent the way they work in order to offer better programs to the viewers. •The traditional audiovisual playersmust adopt multimedia and rich media strategies. The new comers should not be the only ones developing the new format market : content producers and television stations should also invest in this market. • Inthe short term thetelecommunications operators andespecially the mobile operators, could play an important role as mobile Internet develops and users continue to accept paying for access to content more easily if it is mobile rather than fixed. There should therefore be more players to invest in content.

June 2008

IDATE

The new audiovisual formats

•The new aggregatorscan continue to contribute to the financing of programs to promote market development and above all to single out their offers, both in the form of revenue sharing and, progressively, of investing in production. • Certainterminal providerson the fixed or mobile networks could also consider participating more in content financing. Their interest could be either direct (equipment providers becoming service providers) or indirect (market growth favoring equipment sales). •new media represent an attractive tool for Theadvertisersbecause they combine mass media and direct targeted media marketing. The advertisers will therefore produce content for these new media. • IDATEconsiders that a lack of harmonisation between traditional and new audiovisual media regulation would incur a double risk for traditional media players:  runningbehind the new media  havingtheir business weakened by new players •from a public policy point of view, it could be useful to help the production of Finally,content made specifically forthe new audiovisual formats via existing mechanisms made for television and cinema, which means considering content production on all media globally. ***

June 2008

IDATE