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TV and the Second Screen: A Red Bee Media and Decipher white paper

Descriptif du whitepaper
Over the last decade, television has changed beyond recognition. Significant technological advancements have helped to achieve milestone developments such as multichannel TV and digital broadcast, high definition, 3D, on demand, and most recently, new ways for consumers to watch television content through a multitude of connected devices and screens. The consequences of these changes have impacted how and where audiences can access television content – things which have remained largely static until recently.
The most recent evolutionary shift in television, however, has been different: a shift not in where audiences access content, but a shift in what audiences do while they are watching television, brought about by the arrival and proliferation of connected, ‘second screen’ devices.
Decipher and Red Bee Media investigated this change through a research study conducted among both consumers and media industry experts across the UK. We explored the definitions and dynamics of the second screen landscape, assessed audience demand for synchronised, companion experiences, and revealed the opportunities and challenges afforded by the second screen for content creators, broadcasters, platforms and advertisers.

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TV and the Second Screen: A Red Bee Media and Decipher white paper

  1. 1. TV and the Second Screen By Red Bee Media and Decipher (UK)Cannes, Francewww.mipworld.com All rights reserved All rights reserved
  2. 2. Table of Contents• Introduction• The Evolving TV Landscape: A New Opportunity• Definitions of the Second Screen• Making Sense of the Landscape• The Rise of the Dual Screener• TV Companion Apps• Genre Super Screeners• An Untapped Appetite• Companion Apps and the TV Value Chain• Summary All rights reserved
  3. 3. IntroductionOver the last decade, television has changed beyond recognition. Significant technological advancements havehelped to achieve milestone developments such as multichannel TV and digital broadcast, high definition, 3D, ondemand, and most recently, new ways for consumers to watch television content through a multitude of connecteddevices and screens. The consequences of these changes have impacted how and where audiences can accesstelevision content – things which have remained largely static until recently.The most recent evolutionary shift in television, however, has been different: a shift not in where audiences accesscontent, but a shift in what audiences do while they are watching television, brought about by the arrival andproliferation of connected, ‘second screen’ devices.Red Bee Media and Decipher investigated this change through a research study conducted among both consumersand media industry experts across the UK. We explored the definitions and dynamics of the second screenlandscape, assessed audience demand for synchronised, companion experiences, and revealed the opportunitiesand challenges afforded by the second screen for content creators, broadcasters, platforms and advertisers.This paper, produced in conjunction with Reed Midem for MIPCOM 2012, summarises some of the key findings, withsome additional content exclusively presented to MIPCOM readers. It provides an unrivalled overview of key strategicissues and important consumer insight in this fast-changing area of TV evolution. All rights reserved
  4. 4. The Evolving TV Landscape: A New OpportunityWhen it comes to television, behaviour, attitudes and desired outcomes are constantly changing with technology oftenleading and speeding up these shifts. Today’s consumers have become increasingly technology-literate and this hastrickled down into their TV consumption, affecting long established habits. Increasingly comfortable with access to multipledevices, we have observed the emergence of a new form of multi-tasking – dual screening. Use of a smart companiondevice is, in many ways, the evolution of reading the newspaper whilst watching TV and this behavioural shift is the resultof three identifiable drivers: increased smart device ownership by an increasingly tech-savvy user base; improved digitalinfrastructure, both in and out of the home; and the digitisation of other activity in a consumer’s life. The multi-screen home is now commonplace, with many households owning a number of laptops, “The multi- smartphones or tablet computers. In the UK, smartphone ownership rose to 39% of adults in screen home is 2012, up 12% from 2011; tablet ownership rose to 11% of UK households, up from a mere 2% in now 2011 (Source: Ofcom, Communications Market Report 2012). Significantly, many of these devices commonplace” are now permanently internet connected with 80% of UK households having web access (ONS, 2012), and 61% being Wi-Fi enabled.Concurrently, wider activity in consumers’ lives has been almost entirely digitised: video and audio content can be enjoyedsolely online; social relationships have entered online networks; bookcases have been shrunk into pocket-sized e-readers;banking has gone ‘paperless’; supermarkets reside in our laptops; media-rich newspapers are downloaded to tablets andthe entire logistics of an evening out can be planned, reserved and checked in an instant. The list goes on.It’s in the context of these drastic changes that companion devices have proven their mettle. They “86% of smartoffer consumers a quick and informal route into social, discovery and engagement experiences, device owners arevia devices that are frequently alongside them, and not nearly as intrusive as a PC or a laptop.This change in the landscape and consumer behaviour has led to a rise of concurrent use of now dualdevices while watching TV: 86% of smart device owners are now dual screening. screening” All rights reserved
  5. 5. Definitions of the Second ScreenThere appears to be a lack of clarity and consistency when it comes to describing activity on or with a second screen. Wequickly realised that in discussing the second screen, many different terms are being used to describe the same activity. Forthe sake of clarity, we have worked to the following three definitions:Dual ScreeningThe broadest definition of second screen use, this covers any activity using asecond device, undertaken while watching TV.Users may be checking the local weather, news or sports results or sending anemail whilst watching a TV programme.Synchronous ActivityActivity on a second device related to the TV show being watched. This refersto any second screen activity prompted by the TV.Integration with content can be tight, such as engaging with a debate via anon-TV service (e.g. Twitter), or loose, such as looking up weekend listings fora TV channel.Companion ExperiencesActivity on a second device specifically created by the maker of the service/content you are watching for use with that content as part of the entertainmentor viewing outcome.This extends to any experience provided by the TV industry that acts as acounterpart to TV consumption, delivered on a second screen.This area was a key focus of our research. All rights reserved
  6. 6. Making Sense of the LandscapeWe wanted to make sense of the wide range of companion apps on the market and indentified two key factors indetermining the nature of an app experience.The first was where the app was intended to be used in relation to the main TV set (shown as vertical axis in ourdiagram, below).The second factor was how it was to be used: whether the app was primarily intended as a ‘discovery/control’ function- i.e. search, recommendations, menus etc (shown as the right hand column in our diagram), or if it actually deliveredcontent (shown as the left hand column in our diagram). The result was a typology that broke companion apps downinto four functional groups depending on where and how they were intended to be used: All rights reserved
  7. 7. Making Sense of the Landscape (cont.)Apps Used ‘In Front of TV’Two categories of companion apps are intended for use in the home, and specifically in front of the ‘first screen’ and/orset-top-box: Content Interaction Those apps which contain extra content, interaction, social experiences and added functionality related to a TV show or advertising, often designed to be used at the same time as viewing the show itself. (e.g. FX UK’s The Walking Dead Walkers’ Kill Count app). Powerful technology such as fingerprinting and watermarking facilitates seamless, automatic synchronisation with content. Remote Control Apps designed to be used instead of a traditional remote control or the Electronic Programme Guide (EPG) to find programme information, make menu choices, review recommendations, record or send other commands. (e.g. Sky+ August 2012 or Samsung Remote).Apps For ‘Place Shifted’ ViewingThe second group of companion experiences are those designed to provide interaction away from the living room oroutside of the home entirely: Remote Consumption Apps which give access to TV shows via the web either as catch-up or on demand content, or simulcast live streaming. (e.g. ITV Player or Sky Go). Remote Management Apps which allow a viewer to review programme options and send commands, such as ‘record’, to a TV system in their home. (e.g. Sky+). All rights reserved
  8. 8. Making Sense of the Landscape (cont.)It is clear that these four areas have not been developing in parallel. Some of the app types highlighted – such as‘Remote Consumption’ – have been in the market for at least five years through companies such as the BBC orBSkyB and are relatively mature. Others, such as synchronous ‘Content Interaction’ apps are only just beginning toarrive in the market, as technologies such as watermarking and fingerprinting make true synchronicity finally possible.Through auditing current live apps in the marketplace, it quickly became obvious that these four app types are notmutually exclusive. For example, some ‘Remote Control’ discovery apps, such as Zeebox or Sky’s Sky+, areexpanding the amount of content they deliver as part of the ‘Discovery’ experience, in an attempt to capture part ofthe ‘Content Interaction’ experience. Upon closer inspection it was evident that consolidation, rather than furtherfragmentation, of activities appears to be a logical progression. Hopping between a multitude of applications fordifferent elements of TV is inefficient and presents many more junctures on a journey in which to ‘lose’ a viewer. It isthis changing consumer behaviour and attitudes to companion experiences which we sought to better understandthrough the study. All rights reserved
  9. 9. The Rise of the Dual ScreenerThe evolving landscape has led to consumers becoming increasingly comfortable with multi-tasking using a secondscreen while watching TV. Over the past two years, this has been boosted by smartphone and tablet penetration with73% of all UK consumers in 2012 using their smartphone or tablet while watching TV, compared to just 35% in 2010(Thinkbox ‘Tellyport’ study, 2010).Our research revealed that consumers who participated in our study undertake a huge variety of activities on thesecond screen while watching TV: emailing is the most common activity (86%), followed by browsing the internet(84%) and shopping (79%).A significant proportion of dual screen activities relate specifically to thecontent being viewed on screen, whether a programme or advertisement: 1 in “1 in 2 dual screeners use a2 dual screeners use a device to find out more about a TV show and 44% device to find out more aboutfollow up on an advertisement or brand they have seen on screen. These a TV show and 44% follow upchanging habits and access to convenient, connected devices are filtering into on an advertisement or brandconsumer expectations around TV content and preferences towards they have seen on screen”interactivity: 1 in 2 would be more inclined to engage with TV shows if theycould do so from their smart device. All rights reserved
  10. 10. Who is Dual Screening and Why?Extensive uptake of dual screen activity is exciting, but behavioural changes are often initially contained to particulardemographic and socio-economic groups. Our research, however, showed that dual screen behaviour has crossedthis particular Rubicon. Initial findings support the stereotypical notion that younger, affluent audiences are both tech-savvy and regular dual screeners.Almost all 18-24 year old smartphone users have said that they use their phone,tablet or laptop while watching TV (95%). This group is particularly keen on “Almost all 18-24 year oldexploiting the social features that dual screening facilitates with emailing and smartphone users havesocial networking ranking highly (88% of 18-24 year olds). 3 in 5 find out more said that they use theirinformation about the TV programme they are watching and half follow up on phone, a tablet or laptopadvertising or brands featured on TV. Social networking plays a big role in helping while watching TV”younger viewers decide what to watch with 64% of under-35 year olds using buzzon social networks for content discovery.However, dual screening is not restricted to the younger generation alone. Our research revealed that two thirds ofsmart device owners over the age of 55 have dual screened. This has increased significantly over the past two years,growing by 128% since 2010. Looking specifically at smartphones and tablets, this is 2.5 times higher than 2010(Source: Thinkbox Tellyport study, 2010). These ‘silver screeners’ are adopting cutting-edge consumption habits.Over-55s now dual screen more from their smartphone than they do from a laptop (47% compared to 45%) and 1 in 5owners use their tablet while watching TV. The most common activities for older dual screeners are browsing theinternet (56%) and emailing (50%). Over a third of the group have accessed Facebook while watching TV, illustratingthe growth of brands and experiences out of their assumed target groups. All rights reserved
  11. 11. TV Companion AppsMore recently, the TV landscape has seen the arrival of companion apps specifically created to boost direct andintegrated engagement with the content on the main screen. These apps are usually developed by the contentproducer or broadcaster for use specifically alongside a particular TV show and as a part of the entertainment orviewing outcome.Our research found that 1 in 5 smart device owners have used a companion app, 78% think that smart devicesa group largely made up of younger and more affluent segments: 59% arebetween 18-34 years old and 1 in 3 are from higher social grades (A and B). This are a better way to engage,group has an appetite for new ways to engage with their favourite TV shows and rather than traditional78% think that smart devices are a better way to engage with these shows rather methods such as ‘red button’than traditional methods such as ‘red button’ or telephone call-ins. or telephone call-insThough companion app penetration is in its early stages, almost 7 in 10 of all respondents are interested in the use ofcompanion apps. The ability to participate directly with a TV programme rated among the most desirable features,proving more popular than activities such as connecting with other viewers and gaming: • The ability to respond to programme content with polls or voting (55%) • The ability to participate or influence a show through a play-along function (52%) • The ability to choose additional on-screen choices of video (51%) All rights reserved
  12. 12. Genre Super ScreenersWhen looking at interest levels for genre-specific companion app experiences, there was a distinct bias towards live, event-based programming (43% of respondents expressed an interest for experiences around live content). However, ourresearch also revealed that consumers who are fans of particular programme genres demonstrated certain behaviourstowards companion app experiences.Reality TV FansAlmost 1 in 2 smart device owners interested in reality TV shows have used synchronous apps, compared to just 1 in5 of all users. This group also demonstrated a higher threshold towards advertising: 80% are open to targeted adsand 74% would like to be offered promotions or links based on the products featured on TV; this compares to 56%and 40% for the entire smart device user base.Game Show FansFans of game shows are even more likely to be existing synchronous companion app users, with 54% having used asynchronous app. It’s likely that this is because of the established and high profile synchronous apps alreadyavailable to consumers such as The Million Pound Drop. However, it’s clear that the interactivity of the genrenaturally lends itself to companion apps and this has been capitalised upon by content producers and broadcasters.Documentary FansThe behaviour of documentary fans is quite different: only 1 in 3 have used synchronous companion apps althoughnearly 61% have already dual screened to find out more information about a TV show. Furthermore, nearly 1 in 2would pay for a synchronous app and a further 76% are open to targeted ads – exhibiting a far higher tolerance thanthe average smart device owner. It’s clearly a genre that is greatly underserved.Drama LoversDrama lovers were another group that were particularly enthusiastic about companion app experiences. A noteworthy45% of the group had used apps in the past; this is likely to be lower than other genres due to the nature of thecontent and the need to hold a viewer’s attention. Interestingly, nearly two-thirds of this group have dual screened tofind out more about brands or advertising featured on screen compared to 44% of all smart device owners. All rights reserved
  13. 13. The Commercial Opportunity It is clear that development cannot simply occur for the altruistic purpose of providing innovative experiences to audiences. As the wider mobile app marketplace has encountered, there is an opportunity for developers to commercialise their content, both through integrating advertising into apps, synchronising around ads aired on TV, and providing new transaction opportunities within the apps themselves. Our research indicated that smart device owners have a high threshold towards advertising within this environment. 56% are open to targeted ads and 2 in 5 would like to receive 2 in 5 would like offers or promotions based on products featured on TV. Significantly, the threshold for advertising is to receive offers higher amongst current companion app users with 63% willing to receive offers or promotions. or promotions However, advertising sits more comfortably with younger users, with 31% of under 35 year olds willing to pay for companion apps, compared to just 14% of over 55s. This split also extends to targeted advertising, with 63% of under-35 year olds open to receiving relevant ads within companion apps. 56% are open It is encouraging for commercial broadcasters that audiences are open to the possibility of the businessto targeted ads model being extended to the second screen. More significantly, targeting the second screen is exciting from a practical point of view when compared to attempting targeted advertising on the main TV set. Users engaging with companion apps are operating in a personal and individual experience where advertising can be tailored specifically to them unlike the shared group environment of a living room TV set. While older users do remain more sceptical than their younger counterparts about paying for dual screen apps, they are quickly familiarising themselves with today’s increasingly 63% of under-35 year connected world: device ownership and an improved digital infrastructure will help olds are open to accessibility and usage of those apps moving forward. The current digitisation of most receiving relevant ads activities in consumers’ lives has enhanced the development of companion apps and will be a key driver over the coming months, particularly as the big brands encourage usage within companion apps in non-typical demographics. All rights reserved
  14. 14. An Untapped AppetiteImproved functionality and increased uptake of smart devices has given TV companion apps the chance to take anew evolutionary step in content interaction.Building on established behaviour born from traditional interaction channels such as red button and call-ins,companion apps provide a significantly more flexible and powerful platform on which to establish engagement withviewers. There is an evident opportunity to capitalise on consumer behavioural changes and their expressed, butcurrently underserved, appetite.Who in the TV industry value chain is best positioned to provide these experiences, and why, is the focus of the finalsection. All rights reserved
  15. 15. Companion Apps and the TV Value ChainWhat quickly became clear during the study was that different players in the industry are looking for differentoutcomes borne of different industry perspectives.It is evident that particular organisations are better positioned to create companion apps than others, and only aselect few can provide a truly comprehensive companion activity experience.In the UK, strong public sector broadcasters such as the BBC and ITV have driven innovation around remoteconsumption experiences; and innovative platforms, such as BSkyB, have created compelling remote record andcontrol apps.To examine this issue we constructed a simple TV value chain made up of programme makers, advertisers,broadcasters and platforms. Programme Advertisers Broadcasters Platforms Makers All rights reserved
  16. 16. The Value Chain: Programme MakersOur definition of Programme Makers is a wide group covering organisations that create and distribute TV programmes andmovies. There is strong motivation within this group to add value to the content they produce by offering additionalfeatures such as companion experiences.When the creator of content is also the distributor, there is also the desire to make a direct connection with the viewer,circumventing broadcasters and platforms. Companion apps are one of a number of assets in an emerging land-grab toclaim control of the viewing experience. However, most IP owners don’t have the same level of viewer relationship orengagement when compared to broadcaster or platform brands. They are seen as far more abstract players in the TVspace, often only visible as unfamiliar logos at the end of a credit-reel. By adding value to the standard broadcastexperience through innovative features, there is an opportunity to further monetise and drive content formats.But without market reach, small production companies and other IP owners willstruggle to compete with broadcasters to capture the commercial value that the app “Companion apps areworld is beginning to offer. For example, applications built in conjunction with one of a number ofprogramming produced and distributed by FremantleMedia for broadcast on ITV, assets in an emergingsuch as Britain’s Got Talent, are viewed as ITV initiatives and the viewer associationremains with the broadcast channel rather than the content producer. land-grab to claim control of the viewing experience.” All rights reserved
  17. 17. The Value Chain: AdvertisersThe advertising groups we addressed fell into two categories: planning agencies responsible for media campaigns inwhich a second screen experience may feature; and the clients/brands they represent. Both were extremely enthusiastic,but had concerns about how best to deliver to audiences.Advertisers have a strong appetite for exciting, creative companionexperiences. Many media agencies have an ‘innovation’ remit written into their “Advertisers have a strongcontracts and therefore like to be seen to deliver the ‘next interesting thing’.Similar to broadcasters exploring positive stories around commissioning, appetite for exciting, creativeagencies are keen to be at the bleeding edge. However, this sometimes leads companion experiences.”to short term-ism that could be unsustainable.There were particular identified outcomes only realisable on companion apps and smart devices which excited the group.However, different outcomes were preferred depending on the product or brand concerned. E-commerce follow-on was ofparticular interest for those in control of their own retail distribution (e.g. retailers/fast food). Many brands were keen oncontent expansion towards existing digital assets, such as links to their own sites. A small number were interested in thepotential commerce link to mobile (e.g. couponing or retail offer based).The key challenge for advertisers now is how best to reach identified audiences. With no direct platform they havetraditionally relied on broadcast channels to deliver their campaigns for them. Platforms have more recently addedformats and functionality to this recipe, but the organisational structure has remained broadly consistent. Industryopinions suggested that if commercial broadcasters build a similar platform but in the companion app space, ideallyincorporating it into their existing delivery systems, advertisers will have a solution. All rights reserved
  18. 18. The Value Chain: BroadcastersCovering both public and commercial, pay and free-to-air channels, we defined these organisations as being the partof the value chain that has ‘consumers’ but not ‘customers’. Broadcasters are keen to take the initiative and build on their role“It’s an ideal way to brand and badge as primary exhibitors of content to audiences. Engaging viewersexperiences, stimulate a ‘drive to live’ through companion experiences directly associated with contentand even attempt to emulate key on their channels is an ideal way to brand and badgeplatform advantages such as user data experiences, stimulate a ‘drive to live’, and even attempt tocollection.” emulate key platform advantages such as user data collection.However concerns arise around how deeply to invest. Currently, the initiative for commissioning companionexperiences remains with a small number of larger broadcasters. However, as economies of scale begin to arrive indevelopment, smaller operations will soon be able to introduce similar experiences. Overall, many broadcasters lovea story which puts old fashioned linear TV at the centre of press coverage in TV and excites audiences about tuningin.Commercial broadcasters are also considering complementing their second screen experiences with a potential routeto monetisation. As the traditional conduit for agencies accessing TV, close and long-standing relationships alreadyexist. If commercial broadcasters build a platform for companion apps, and incorporate it into their existing deliverysystems and sales pitch, advertisers will have a simple route to market. All rights reserved
  19. 19. The Value Chain: PlatformsFinally, our research covered both pay and free operators of TV platforms.Historically, platforms simply delivered ‘viewers’ to the channels, but would not “Platforms see themselves asclaim to have an active viewer relationship past this point. However, as their the ideal value chain players toservices have grown increasingly sophisticated, their role has become dominant; provide the most powerfulit is increasingly Sky, Virgin or YouView within which the public spend time inmaking the journey to ITV1 or Dave. Industry research revealed that platforms companion app experiences.”see themselves as the ideal value chain players to provide the most powerfulcompanion app experiences. This has to be set within the context of the evolving ‘networked home’. Both the free and the pay platforms“You ain’t are well positioned to create a media service layer around the home, with the set top box as the centralseen unifying device, and the second screen app as the all-encompassing remote control. One stand outnothing comment which summed up the perspective of the group was “you ain’t seen nothin’ yet!” As viewersyet!” increase the number of connected screens around their homes, it is likely that the platform apps will be the most effective at tying together networked media consumption.As with broadcasters there are different attitudes to companion apps depending on whether pay or free services areconsidered. Pay-platforms have traditionally been strong innovators both in content acquisition and in functionalitydevelopment. Likewise, their customer-base is notable as more ‘advanced’ TV users. These users will have slowly shifted toengaging with their entire TV experience through their platform provider, and are increasingly expecting this to occur insubsequent industry developments. They expect their platform aggregator to be the first point of contact not only for longform content on the big-screen, but for accompanying experiences and functionality. This is beginning to be addressed, andSky’s 10% acquisition of Zeebox in January 2012, in addition to the launch of their own Sky+ remote control app in August,proves their ambition to control both the first and the second screen. Understandably, subscription-free platforms have lessability to achieve the depth of relationship that a commercial connection offers. However, free-users still hold an appetite formany of the benefits a platform aggregator provides, be it on-demand, a PVR, content search or a companion app. Theabsence of platforms in the free space introducing companions has left a gap which is currently being filled by disaggregatedbroadcaster experiences and non-aligned 3rd party apps (such as Zeebox and GetGlue). Whilst it may be a reactionary step,there still exists a clear opportunity to create a companion that emerges as the app of choice for free homes. All rights reserved
  20. 20. SummaryThe industry is now in the enviable position of being able to harness emerging consumer behaviour, rather than tryingto engender change within an unwilling audience. The wave of technological evolution that has swept through themedia landscape over the past two years has not only developed tech-savvy users and given them the ability to moreeasily participate in companion activities; it is increasingly instilling expectations to be able to do so. Audiences haveshown that they are willing and able to engage with web content and services around TV if the quality of theproposition is sufficiently strong.There appears to be no set answer to who should provide companion experiences and what they should explicitlycontain. However, our research revealed that whilst innovation is exciting, consolidation appears to be necessary.Gathering elements into a hub experience, provided by a broadcaster or platform, will increase efficiency ofdevelopment and ease of use; especially when compared to ‘siloing’ interactivity into different apps for every show,brand or outcome for which there is consumer appetite.Like all advancement, thought leadership will begin to break through early innovation and provide a framework forexperiences and examples of best practice. It is an opportune moment for members of the value chain to move firstand establish themselves as the forerunner that creates engaging examples of what can be achieved in the newlandscape. It’s time to do more, exciting, innovative things in an area with proven potential to change the wayaudiences consume TV. There is a perfect storm on the horizon which sees consumer appetite and commercialpotential come crashing together via a powerful companion experience. All rights reserved
  21. 21. About this PaperThe second screen continues to be a key point of development and demand across the TV value chain. In response,Red Bee Media and Decipher conducted a comprehensive research project drawing from primary qualitative andquantitative research across the UK.The output from the research has been curated into a series of publications entitled the Second Screen Series(www.redbeemedia.com/insights). In this series, Red Bee Media and Decipher explore the definitions and dynamics ofthe second screen landscape, assess audience demand for synchronised, companion experiences, and reveal theopportunities and challenges afforded by the second screen for content creators, broadcasters, platforms andadvertisers.This paper presents a top-line summary of the key findings, with some additional content exclusively presented toMIPTV/MIPCOM readers. It provides an unrivalled overview of key strategic issues and important consumer insight inthis fast-changing TV landscape. All rights reserved
  22. 22. About the AuthorsRed Bee MediaRed Bee Media is one of the world’s leading media management companies. Working with broadcasters, contentowners, platform operators and brands, the company blends technology and creative expertise to provide a range ofservices designed specifically for the media industry; from playout, access services, content discovery and multi-platform hosting to companion applications and brand consultancy. Red Bee Media’s Chief Marketing Officer, StellaMedlicott, presented “The Audience Shift” at MIPCOM on October 9, 2012.www.redbeemedia.com @RedBeeMediaDecipherDecipher is a media consultancy specialising in the consumer and commercial impact of new converged technologyon media markets. Based in London but with offices in MediaCity Manchester, Decipher is the sister company toresearch facility iBurbia Studios.www.decipher.co.uk @DecipherOffAirThis report is brought to you by MIPTV-MIPCOM Visit mipworld website: www.mipworld.comMIPTV & MIPCOM are the world’s leading content Follow usmarkets for creating, co-producing, buying, selling, http://feeds.feedburner.com/mipworld/ABNFfinancing, and distributing entertainment & TV http://twitter.com/_mip_programs across all platforms. http://www.youtube.com/mipmarketsMIPTV & MIPCOM respectively take place every http://www.facebook.com/mipmarketsApril and October, each bringing together over http://linkd.in/mipmarkets12,000 professionals from 100 countries. http://www.flickr.com/photos/mipmarkets Download miptv/mipcom iPhone App: http://road.ie/mip-markets All rights reserved