Understanding the future of entertainment
Tony Maroulis - 24/04/18
Netflix is finally managing to buy more global content

Netflix has long pushed for global licensing of content, and while its originals programme fuels its ability to offer and manage content globally, it's clear that the streaming giant is also increasingly managing to negotiate global or large pan-regional rights for acquired content as well. The volume (hours) of content licensed globally (that is, titles available in all 32 markets Ampere tracks) now make up 5.5% of Netflix’s catalogue, nearly four times more than in 2016. The largest proportion of globally licensed content falls outside of the originals (commissioned content) or exclusive (exclusive acquisition), suggesting that Netflix has increasingly been able to negotiate global deals for its acquired content. Non-global but large pan-regional licensing is also growing. At a title level, the proportion of titles available in more than 20 Netflix countries (over two-thirds of all surveyed markets) has increased from 2.2% in 2016 to 9.3% in 2018

Internationally, Netflix has been growing its offer rapidly. Since its global roll out in early 2016, the number of unique titles available on Netflix in at least one market grew by just over 2000 distinct titles. At an individual country level, however, the story looks very different. A number of countries (such as Poland, Russia, or Portugal) have seen a more than doubling of catalogue in two years. Single-country licensing, which typically centres either around recent, major release titles or highly localised content, has nominally remained stable—with roughly a third of the global catalogue available in a single country and little change over the period. In reality, single-country licensed titles have been declining in almost all markets, but huge growth in Japan-specific titles has made up for the declines elsewhere. As of March 2018, Japan—where local content is king—accounts for 55% of all single-country licensed titles; a figure which stood at just 16% in March 2016.

Hannah Walsh, Richard Broughton - 10/04/18
TV Everywhere vs. SVoD

Online video access is increasingly important to consumers but even as subscription online video services gain market share, TV Everywhere services run by pay TV operators are still significantly less in demand than their linear TV counterparts, and OTT competitors.

Lottie Towler - 4/04/18
The best things in life are free (TV)

Ampere investigates the recent growth in free TV market in 10 key European countries.

Alexios Dimitropoulos - 27/03/18
US market offering a good start for F1’s race to go direct

Formula 1 is likely to hit a core SVoD demographic in the US with its new Direct-to-Consumer service. US fans of the sport skew to the key younger SVoD demographic. By contrast, F1 fans in European markets tend to be older. F1's challenge will be monetising the relatively small fan base in the US.

Richard Cooper - 19/03/18
UK EST TV seasons favour older comedy and more recent documentaries

The number of TV seasons tracked by Ampere’s Home entertainment tracker hit 53,000 in the UK in March 2018.

Daniel Gadher - 14/03/18
SVoD services - from complementary to competitive

Ampere explores the significant growth in SVoD-only households in developed markets.

Tony Maroulis - 7/03/18
The state of cable: three different trends in three different business lines

Although recently cable companies have felt pressure in some developed markets such as the US, globally, absolute cable subscriptions have grown.

Silvia Presello - 7/03/18
Sweden's hidden cord-cutters...

Swedish consumers also prefer SVoD services over traditional pay TV services.