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On April 7, 2013, 150 TV and content executives, including digital strategists from broadcasting, production and distribution companies, as well as a new wave of online content creators and technology companies, gathered at the Majestic Hotel in Cannes, ahead of MIPTV 2013.
Together, they worked in a closed-door roundtable setting. Working under such conditions encouraged new ways of thinking, networking and original approaches on working together.
Here are the key takeaways from what was said. Read & learn from the industry's leading visionaries!
MIPCube Plus has been recognised as aleading think-tank for key players inTV and online content. April 7th‘s all-day think tank unlocked new businessopportunities for new content creation,user engagement and monetisationmodels. The event was formatted ina way to promote a free exchange ofexpertise between key industry playersto bridge cultural and knowledge gapsfound within their value chain.The 150 participants included: digitalstrategists from broadcasting, productionand distribution companies; a newwave of online content creators andtechnology companies. They were pairedwith established entertainment industryexecutives from around the world.Together, they worked in a closed-doorroundtable setting. Working under suchconditions encouraged new ways ofthinking, networking and originalapproaches on working together.The future of our industry was shaped inCannes by executives from around theglobe such as: A+E Networks, All3Media,BBC Worldwide, ADOBE, BSkyB, Canal +,CTC Media Inc., eTF1, Eurosport S.A.,France Télévisions, Lionsgate, NationalFilm Board of Canada, Radio Canada, RedBull Media House, RTE, RTL Group S.A,Starz Media, Telemundo, Unruly, ViacomInternational Media Networks, ZDF, ZodiakActive, and many others!Reed Midem and Accenture, knowledgepartners of MIPCube Plus 2013, are pleasedto share with you our fruitful discussionsin the following wrap-up report. We hopeyou will find its content compelling andenriching. We look forward to seeing youagain next year at MIPCube 2014.The fast-paced evolution of technologythat first caused major uncertainty in theTV and online content market has nowbecome the driving force for positive change.From branding innovation to innovating forsurvival, players along the value chain arestriving to adapt their offerings and operatingmodel to the new digital ecosystem. Thereare two distinct reactions to the digitalrevolution: (1) Embrace change and reinvent,or (2) Preserve the status quo.3
1 www.forbes.com/sites/andersonantunes/2012/10/19/brazilian-telenovela-makes-billions-by-mirroring-its-viewers-lives/2 Netflix’s sky-high stock the real House of Cards,Globe and Mail, 5 February 2013.Creating for an audience of usersContent producers today are facing thechallenge of re-engineering processesto create more compelling content.A tough balancing act that requiresleveraging of local creativity, fosteringdigital interactions while appealing toglobal consumers and reducing overallcost per minute. As viewers overlook lesscompelling content, “super premium”content pulls further ahead, giving itsowners a competitive edge. Examplesinclude the Twilight film franchise, whosefan base scoops up whatever merchandisethey can get their hands on, the globalsuccess of television formats (e.g. TheVoice, X Factor, and America’s Next TopModel), or the telenovela “Avenida Brasil”which commands 65% market share inits viewing slot (and also happens to beexclusively aired on linear television).1The power of the right content is alsohighlighted by some of the big bets nowbeing placed. For example, Netflix hasinvested in content deals estimated at$2.5bn in 2013, up from $300m in 2010 2and, more importantly, developing originalcontent, with four productions to bereleased in 2013.“Making something premium meansmaking a worthy candidate for theinvestment of my time.” – Ian Wharton,partner, Zolmo, UK“Audiences are passive bodies of people.Users are active. We believe creationusing design is incredibly important,and that making differentiation betweenaudiences and users is the mostimportant thing.” – Paul Bennun,CCO of Somethin’ ElseContent producers and broadcastersrecognise that the programmes thatresonate the most with social trendswill increase their ability to engagethe audience in a more immersive andinteractive experience. Screenwriters,producers and broadcaster are nowworking together to tailor the showaiming at maximising the interactionswith the different level of communitiesthat could be built around the programme:the show host, the guest, the talents,the audience of users, the Broadcastbrand, etc. In addition, live-filmedentertainment events now can offerinnovative interaction during the show,such as allowing users to operate theshows’ cameras.“When interaction has a reward inthe editorial of the show, that’s whenthings get interesting.” – Adam Gee,Multiplatform Commissioning Editor,Channel 4Meanwhile, content producers are makinghuge efforts to reduce the cost per minuteof creating for active users. Several playershave engaged the digitalisation of theircontent production and distribution chainin order to improve efficiency. Others havemove to cheaper off-shore geographiesfor production back-office functions likespecial effects, dubbing, sub-titling, voiceover, etc.4
Engaging an audience of usersWhere broadcasters once held power,with exclusive command over the viewingexperience, consumers now rule. Theywant to be in control of what theyconsume and when they consume it—creating their own new digital experiencesacross channels and devices, planningtheir own entertainment schedules, andfinding new ways to interact with contentitself. When you combine this viewingflexibility with the sheer volume ofprogramming now available, consumers’ability to be more selective about whatthey are watching has dramaticallyincreased.If today’s current dominant mode ofdiscovery is marketing from broadcastersand EPGs on television sets, newtechnologies offer other opportunitiesof adding value. Launching innovativeforms of content distribution to providetraditional viewers and customers withmodern and enhanced user experiencesbased on the “TV-as-YOU-like” principle.Consumers are at the heart of thisevolution. Seamlessly integratingon-demand linear and non-linear viewinginto a single “entertainment” propositionwill mean providing consumers with aredefined entertainment service—onethat combines the power of broadbandand traditional broadcast networks.“We help audiences find shows thatthey’re going to fall in love with”–Kelly Day, CEO of BlipAs the amount of available linear andnon-linear entertainment content hassignificantly increased, users are facingthe “hyper choice paradigm“. They areseeking gateways to guide them andfacilitate their access to content.“You spend 10 minutes a day that is2.5 days a year trying to find content.Content is the most valuable thingon the planet right now and audienceswill pay a premium for immersiveentertainment delivered to where theyare.” – Julian McCrea, CEO of PortalEntertainment.2nd screen synchronisation, seamlessintegration of linear and non-linearcontent, social network interaction withrelevant duration, etc.; these are examplesof valuable product innovations that areidentified as a powerful way to increaseaudience figures and stickiness.“When I see a good interface, I stick toit and it makes my life easier.” – CarlosDe Andrade, President of Visom Digital,Brazil“Twitter numbers, even small, arefuture numbers.” – Ian Cross, ManagingDirector, Pilot Film & TelevisionProduction LTD, UKTherefore, the ability to transmit toviewers on whatever platform they choose(whether proprietary or a third party)will separate leaders from laggards in theindustry. For those not in a position toplay at similarly high stakes, success willhinge on very focused management ofthe content assets they do possess.5
Monetising an audience of usersSimply put, the traditional equationno longer works. Audience numbersalone do not necessarily translateinto revenue.Advertiser-funded models are seeingbudgets carved up and spread across newmedia, with knock-on effects on pricing.Subscription-funded models have todeliver better content and new servicesjust to hang onto their customers anddefend ARPU without huge increases insubscriber acquisition costs. Broadcastersthat built their success on advertisingbusiness-to-business (B2B) models arebeginning to acquire business-to-consumer (B2C) characteristics in theirDNA. They are moving their modelsonline, exploring multi-device linearand nonlinear services and features andrecognising that in a world where accessto distribution is no longer a guaranteedprivilege, understanding audiences asconsumers is a prerequisite to success.On the other hand, some broadcasterswere born with business-to-consumerDNA. Denied the privileged distributionaccess to their FTA competitors, theyhave had to roll out their own distributionplatforms into consumers’ homes. Theyare now addressing new B2C arenas thatgo beyond broadcasting into the widercommunications space, at the core ofwhich lie triple play and multi-devicepropositions. And it is their innovationthat is spurring others on.“The analogue dollars versus the digitalpenny paradigm.” Desmond Ngai –Head of Head of Business Development,EMEA, Creative Multimedia Division“ROI on technologies for 2nd screenis not guaranteed for broadcasters,they need a ready-made solution.” –Zelda Stewart, Head of the acquisitiondepartment, Mediaset distribution,RTI Spa ItaliaPromising digital advertisingopportunities abound.Broadcasters and online entertainmentproviders are accelerating experimentingwith new advertising and monetisationmodels without the fear of compromisingtraditional advertising revenues. FromProgrammatic Buying and Real-timeBidding (RTB) that automate both thetargeting and buying of digital ads, andConvergence Buys that bring efficiencyacross screens, to Pay for Performance(PFP) buys where advertisers only paywhen certain metrics are achieved.These new digital advertising modelsseem especially important as it becomesincreasingly apparent that linearadvertising volumes are unlikely to returnto historical levels. Product placementis also becoming very popular, opening anew but significant source of direct andrapid revenue for content owners andbroadcasters.“It has been reported that 45 milliondollars were spent by Heineken on thelatest James Bond film.” – ChantalRickards Head of Programming/BrandedContent, MEC GLOBAL, UKDiverting resources to develop newrevenue models; customer relationshipsand innovative distribution platforms;recognising that traditional distributionNetworks, such as terrestrial or satelliteno longer provide the same barrier toentry as they did in the past. Key playerswant to harness analytics to build insighton consumers, their behaviour andpreferences, in order to monetise theirdigital investments.“Knowing your user, data capturingis a way to monetise 2nd screenexperience.” – Sabine Janssen,Strategy consultant, ExMachina6
Other relevant readings from MIPCube Plus’sknowledge partner• The future of Broadcasting, issue III, Strategy Delivers• Video-Over-Internet Consumer Survey 2013 - Multi-taskingand Taking Control, Winning the trust of the sophisticatedconsumer• Navigating the Digital Media Market - How to maximize thepotential of new advertising models• Taking the pulse of Media, Accenture interactive studyre-examining digital Media & EntertainmentContactYannick SadowyAccenture Managing Director Media & Entertainmentyannick.firstname.lastname@example.orgGwendal BihanAccentureManager Broadcast & Entertainmentgwendal.email@example.comMIPCube Contact:Bastien GaveReed MidemNew Media Development MIPCube, MIPTV, MIPCOMbastien.firstname.lastname@example.org