Reports: Audience Insight

The video industry is fixated on the disengagement of youth audiences from traditional TV and the risks of this continuing unabated into the streaming TV era. However, this fear is based on flawed assumptions around the relative value of younger consumers versus older demographics – particularly the 55+s.

This report presents MIDiA consumer data for key music behaviours of Japan’s consumers. The data covered includes streaming app usage, social app usage, key audio formats (radio, streaming, and podcasts), fandom / identity, and artist content. All data is from our Q1 2023 survey, fielded in US, Canada, Mexico, Australia, Japan, Sweden, France, Germany, and UK.

This report presents MIDiA’s consumer survey data, zooming in on players of specific gamer types. Data includes age, gender, income, time spent across entertainment, money spent on and inside games, as well as games genre preferences. QUESTION ASKED: Which of the following types of gameplay do you like the most? (select up to three) ANSWER OPTIONS INCLUDED: S olo vs computer, solo vs other solo players, small team (max 4) vs other small teams online, large teams (more than 4) vs other large teams online, in a team vs computer (co-op / PvE), with someone physically present in the room, and against someone in the room.

The digital entertainment space is more saturated than ever, with content spread and duplicated across dozens of platforms, from social to streaming. Advertising and marketing teams face incredible competition and a tough economic environment in which to elicit spend from users.

Today’s live music audience skews 45+, with rock concerts and theatres / concert halls dominating sales. Fandom is by far the strongest factor in purchasing tickets, eclipsing price, and location. So, despite challenges like inflation and scalping, most concertgoers plan to attend more or the same number of concerts going forward.

The radio industry has traditionally thought in terms of monthly audiences and reach rather than engagement. It is time for the radio industry to start thinking in terms of weekly engagement so that it can better benchmark itself against the wider picture of digital entertainment It is time for radio to think in terms of weekly active users (WAUs) As radio consumption steadily declines over time, it is imperative to understand the current userbases Globally, radio WAUs skew older, making the transition into digital platforms such as podcasting more challenging.

Social is an integral part of entertainment consumption This report presents key data and insights about the advanced overlaps between social behaviour (both on digital platforms and in real life) and entertainment consumption. It looks at data from nine markets, featuring segments of social platform users and the audiences of different forms of entertainment, as well as fandom behaviours and monetisation opportunities.

Across entertainment, fandom is used to judge, predict, and generate successful commissioning and distribution strategies. Fandom indicates reliable audiences who will spend money on propositions and come back for more at the next instalment. It shows who will buy merchandise, attend shows and events, or purchase in-game cosmetics.

The funding model for live sports has created fissures between older viewers who can afford to pay a premium for live access and younger audiences who either cannot, or do not want to. While older generations are accustomed to paying for access to content, younger generations grew up in a world with accessible content galore.

The rise of games-inspired content is taking entertainment by storm. This illustrates the power of not only games content itself, but the fandoms that keep it alive, revealing an audience for other entertainment formats to tap into. As games aficionados over-index for a variety of podcasting behaviours, podcasts are an opportunity for games companies to turn many of the adverse effects of attention inflation into opportunities to drive fandom, engagement, and revenue along the way.

This report presents a Q1 2023 snapshot of US gamers who bought at least one game within a six-month period (between October 2022 and March 2023). This is broken down by physical versus digital format and digital versus physical distribution channel. It covers: % of gamers who purchased a game in a physical format through a physical (brick and mortar) retailer (e.

AI has already hit entertainment at the industry level – and the impacts on audience culture will not be far behind. A variety of AI tools are now readily available on ‘fremium’ tiers at a consumer level. Companies may be looking towards what the new world of web 3.

For two decades now, Steam has been one of the go-to digital game distributors, particularly for computer gamers and developers. Yet, its weekly active audience does not quite reflect a fully representative sample of computer gamers. Rather, Steam’s weekly active users (WAUs) are a specific niche of gamers, characterised by their demographics, genre preferences and wider gamer behaviours.

This slide deck presents a snapshot of different social platform users, including age breakdowns, activity on social platforms, and cross-platform usage. It covers Facebook, YouTube, Twitter, WhatsApp, Pinterest, Instagram, Snapchat, Discord, and TikTok.

This report presents a snapshot of ad-supported video users, including age breakdowns, time spent on video (subscription video on demand (SVOD), ad-supported video on demand (AVOD), and pay-per-view), responsiveness to ads, devices used, and TV genre preferences.

2023 has been jump-started by rapid progression in the adoption of artificial intelligence (AI). From the launch of ChatGPT to AI-powered DJs, this technology is revolutionising common practices, impacting consumers, creators, and industry leaders alike.

Audiences are consuming in different ways, on different platforms, and at different times – from lean-back passive viewing, to lean-forward on-demand, lean-in social engagement, and lean-through creation. Web 3.0, largely driven by AI, will not change this.

This report presents a Q4 2022 snapshot of gamers’ reception to various types of digital advertisements. It covers: Display / banner advertisements Video advertisements Video advertisements in mobile games Audio advertisements Advertisements that are relevant to the consumer Advertisements in services that consumers already pay for Gamer segments included are: By gamer platform (Mobile, PC, Console) By games genre fans (FPS, RPG, Action / Adventure, Platformer, Open world, Sandbox, Puzzle, Simulator, Strategy, MOBA, Survival, and sports games) By games service subscriber (Apple Arcade, EA Play / Pro, NintendoSwitch Online, Xbox Game Pass, Xbox Live, PlayStation Now, PlayStation Plus,Ubisoft+) The data in this report is from MIDiA Research’s Q4 2022 consumer survey.

This slide deck presents consumer demand for video subscription services, transactional video consumption, and advertising responsiveness. The data is pulled from MIDiA’s Q3 2022 consumer survey, fielded in the US, UK, Australia, Canada, Germany, France, Sweden, South Korea, and Brazil.

Though parts of the games industry still stigmatise in-game purchases, the business model is a fundamental part of a successful and sustainable growth formula for games companies. The current macroeconomic climate will only catalyse their importance. Diving into the nuances of in-game spenders’ behaviours and attitudes unlockssignificant growth and conversion optimisation opportunities for games companiesthat are already in pursuit of this business model.