Blog: Chart Of The Week

In the digital era, anything can generate metrics – to the point where no matter how good the numbers look, actual success can sometimes be unconnected. Logged ‘views’ of an advertisement don’t hold up to scrutiny when 29% of consumers “normally stop paying attention” when ads come on during a TV show, 31% “usually skip video ads online” and 11% block online ads on their desktop and/or laptop (source: MIDiA Research Main Consumer Survey Q1 2019).

For the meek shall inherit the earth… Since early 2019, MIDiA has been publishing findings that we are moving progressively into a market dynamic in which creators are being empowered by technology to have greater direct control of their output, from conception to completion to monetisation.

On the 16 th of January , Comcast (owner of NBCUniversal) unveiled further details of its direct to consumer (D2C) proposition, Peacock. Peacock is set to debut on the 15 th of April exclusively for Comcast’s Xfinity X1 and Flex customers, before being rolled out nationally across the US on July 15 th .

On July 18 th , Google-owned YouTube livestreamed the first of its exclusive Major League Baseball (MLB) matches, acquired through a partnership announced with the MLB at the end of April 2019 . YouTube’s first exclusive live game distribution deal with the MLB covers 13 games during the second half of the MLB’s 2019 regular season.

MIDiA Research, a leading source of insight and analysis in digital media, music, video and games, is expanding its family of data tools and analytics intelligence to TV shows. The new development, MIDiA Index , is a robust and powerful measurement proposition that aggregates manifold data types from multiple sources to create a unique and accurate reading of how well TV shows are really performing, demonstrating their true value to TV networks and establishing who the audiences consuming the shows are.

When the television first entered homes around the world, it was a safe assumption that if it was on it was the centre of attention in a room. Whatever was broadcast to the screen for that evening would be closely regarded with well-deserved awe.

The arrival of chatbots has been widely covered by the media in the last few months. The hype peaked in April 2016 when Facebook (though by no means the first company to do so) released its Messenger Platform and invited developers to build chatbots for its Messenger app.

Streaming video subscriptions are now firmly established as a key component of the pay-TV landscape and look set to be an even bigger part of its future. With Netflix leading the way, SVOD is gaining ground fast.

Music Aficionados are consumers that spend above average time and money with music. They represent just 17% of all consumers but a whopping 61% of all recorded music spending. These consumers shape the fortunes of the music business.

Mobile apps are the defining characteristic of the smartphone era and revenue and adoption both continue to boom. A growing marketplace of companies is evolving to help mobile app companies manage the life cycle of their users across the app funnel, from acquisition, through conversion to retention.

It has long been well understood that what is popular on TV is popular on P2P. The list of the top 10 most downloaded TV shows in 2015 thus holds few surprises. All of these shows are either available to stream online via SVOD services.

Facebook and YouTube have a lot in common. They both have in excess of a billion users, both have become part of the internet furniture and both have transitioned from disruptive challenger to incumbent.

Convincing mobile app users to opt-in for push notifications is the first challenge in implementing a successful push notification strategy. Based on data collected by MIDiA from 5 leading vendors 53% app users enable notifications.

The album has been under assault ever since Napster first gave consumers the ability cherry pick their favourite tracks and leave the filler behind. Apple formalised the process with the iTunes Store and in recent years streaming has hammered the nail in the coffin by supercharging the consumption shift towards playlists.

While the music industry slowly got its head around the brave new world of digital in the 2000’s piracy used to be the dominant focus of record labels and their trade associations. Now, with so much momentum and scale among legitimate services that focus has understandably lessened.

Slowly but surely the traditional media industries are waking up to the importance of YouTubers but those taking note most quickly are the subscription video companies, Netflix in particular. As recently illustrated by its commissioning of ‘Haters Back Off’ from YouTuber Colleen Balling-Evans’ alter-ego Miranda Sings – who incidentally has 6 million subscribers on YouTube, nearly 10% of Netflix’s entire subscriber base.

2015 was a big year for streaming music but it was a bigger deal for streaming video, generating $16 billion in revenue compared to $4.5 billion for streaming music. (Both figures are retail values). The contrast between the two streaming markets is pronounced: Streaming Video: Exclusives are a standard part of video services Streaming Music: Virtually all of the same 30 million songs are available everywhere Streaming Video: Rights are fragmented across a host of TV networks and studios Streaming Music: 3 labels account for the majority of rights Streaming Video: Subscribers are just as likely to be male or female and have relatively even age distribution Streaming Music: Subscribers are predominately male and under 45 Streaming Video: Services compete on price, content proposition and functionality Streaming Music: Services largely operate within the same price point and content Streaming Video: Video services are profitable (Netflix has a 32.

As much as we may be in the era of streaming, nearly half of recorded music revenue globally is still derived from physical sales, with the CD making up the vast majority of that. So, for all the understandable focus on how YouTube, Spotify, Soundcloud & co are shaping the future of the music business, the humble CD buyer remains crucial.