Understanding the future of entertainment
Alexios Dimitropoulos - 21/09/17
Netflix and... Thrill?

Over the past two years, Ampere Analysis has used its Analytics tool to identify genre changes in the catalogues of SVoD services. But are these changes aligned with the changes in consumer genre preferences? By comparing the percentage of our US respondents’ favourite genre between Q1 2016 and Q3 2017, we have also identified the change in SVoD subscribers’ tastes.

The greatest positive change was observed for the “Horror” and “Crime & Thriller” genres, now representing 19 per cent of the sample (up from 14.5 per cent), while “Comedy” has seen a decrease of 4.2 percentage points (dropping from 19.3 per cent to 15.1 per cent) in the number of respondents who selected it as their favourite genre. Looking at it from a scripted and non-scripted perspective (comedy is excluded from both groups as it can contain both forms) we have seen non-scripted genres (three out of four) feature more favourably since Q1 2016. 

Netflix has responded to the decline of comedy as a favourite genre by decreasing the proportion of its comedy catalogue, while Amazon has gone against the trend, increasing its number of comedy titles. The opposite is occurring with “Crime & Thriller” and “Horror” which are enjoying greater popularity amongst consumers; Netflix has cut titles falling under these genres, whereas Amazon has increased its "Horror" and "Crime & Thriller" titles. But, because Amazon has increased its overall library significantly over the same time period, the proportion of library represented by these two genres has remained static. In terms of the evolution of scripted vs non-scripted consumer preferences, Netflix has altered its catalogue more in line with the preference change, with an increase in non-scripted content. But the relationship can work both ways. Huge hit titles (such as House of Cards, Breaking Bad, Grand Tour etc.) can alter consumers’ preferences and interest in a particular genre meaning that the content changes seen on the two big platforms could drive some of the changes in preferences we have witnessed. Even so, neither platform is completely following the current evolution of content preferences. Simply put, it is not possible to please everyone and both platforms will be focussing on specific subscriber needs. 

Tony Maroulis, Julien Theys - 12/09/17
Apple states its vision for the iPhone's next 10 years

At its 2017 Fall event held on September 12, Apple announced a series of new products:

  • An update to the Apple watch, now “series 3”, including a first version that includes direct cellular connectivity while maintaining an all day battery life
  • A 4K Apple TV supporting High Dynamic Range image quality accompanied by a general availability of 4K movie titles on the iTunes store. Movies previously purchased in HD will automatically be upgraded to 4k when available.

Apple has also distanced itself further from the original single product concept, launching two new iPhone lines.

  • New, faster iPhones 8 and 8 Plus keeping the same form factor as the iPhone 7 range, but featuring glass backs, improved displays and cameras, wireless charging (using the Qi standard) and faster processors.
  • An all new iPhone X, which marquee features are an edge to edge display and a 3D face technology used for authentification in lieu of the Touch ID home button. This innovation comes at a price, starting at $999.

Using Ampere Consumer data, the infographic below provides an overview of the market dynamics currently at play for smartphones, tablets and streaming boxes in seven countries across the world.

Ed Border - 6/09/17
SVoD players turn to Japan

Since 2015, there has been heavy investment into the Japanese SVoD market, particularly from international players Netflix, Amazon and Hulu (now backed by local player Nippon TV). These three companies have seen their combined market share grow from 23% to 56% in the last two years, and will reach more than 6.5m subscribers by the end of 2017.

Guy Bisson - 25/09/17
Netflix ramps up original local content push

Netflix is rapidly increasing it's international drama production with just half of upcoming original series being made in the US.

Keiran Suchak - 30/08/17
Seasonal changes in the genres of box office releases

Over the course of the calendar year, the proportions of movies released that fall under each genre vary. There are a number of different seasonal effects that impact how both these proportions vary, and how the box office takings of each genre vary.

Richard Broughton - 24/08/17
Script Savvy - is a scripted TV demographic skew aiding SVoD?

Ampere crunches social media data to look at demographic skews across fans of scripted series airing on broadcast networks, basic cable, premium TV and subscription OTT services, and finds that subscription OTT services have the best demographic balance amongst their current slate of scripted shows.

Alex Varatharajah - 11/08/17
Hoo-ray! Blu-ray here to-stay!

Blu-ray Disc pricing holds strong during the "50 Must See Movies Before You Grow Up" promotion across UK retailers

Guy Bisson - 10/08/17
Channels in strong negotiating position for US streaming pay TV?

US streaming pay TV packages offered by virtual Multiple System Operators (vMSOs) generate almost three times the revenue per channel of traditional pay TV. Combined with lower subscriber acquisition costs for operators this should put channel owners in a strong negotiating position, although a focus on stronger brands to drive early uptake means the economics may not always stack up for pay TV providers.

Toby Holleran - 3/08/17
eSports: An investment game

Ampere chronicles some notable investments from internet giants and telecoms operators in the eSports and online gaming sector.