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TV rightholders’ OTT strategies

  • April 2014
  • -
  • IDATE
  • -
  • 51 pages

This report spotlights premium content right holders' strategies to tap the new internet territories. It provides a benchmark of OTT services launched by major rightholders. The study also provides the analyses and conclusions on these OTT strategies in highlighting their drivers and hurdles: technology, regulation, consumption patterns. Finally, it addresses the question of viability of an exclusive OTT strategy for Sport, Cinema & TV series right holders.

Companies Mentioned

ATP,BSkyB's,CANAL+,CBS,ESPN,Filmo TV,Fox,Hulu Plus,Lionsgate,Livesport.TV,M6,MLS,NBA,NBC,NFL,TennisTV,TF1,Walt Disney Company,Warner,YouTube

Table Of Contents

TV rightholders’ OTT strategies
1. Executive Summary 6
2. The premium video content rights economy 8
2.1. Premium content and services 9
2.1.1. Premium content 9
2.1.2. Premium services 12
2.2. Players in the premium content rights market 14
2.2.1. Movie and TV fiction rights holders 14
2.2.2. Sports rights holders 17
2.3. The premium content rights market 17
2.3.1. The fiction rights market 17
2.3.2. The sports rights market 19
2.3.3. The impact of content rights in TV revenues 21
3. The OTT strategies pursued by premium content rights holders 22
3.1. Sports leagues' OTT services 23
3.1.1. The NFL's OTT strategy 24
3.1.2. The NBA's OTT strategy 26
3.1.3. The major professional football leagues' OTT strategies 28
3.1.4. The ATP World Tour OTT strategy 29
3.1.5. Using a third-party platform: the example of Livesport.tv 29
3.2. OTT services for fiction catalogues 30
3.2.1. OTT services from US studios 31
3.2.2. Independent rights holders' services 35
4. Would transitioning to an 'everything OTT' model be viable? 36
4.1. A better share of the value for rights holders? 37
4.2. Is 'everything OTT' for premium content distribution viable? 38
4.3. The barriers to an 'everything OTT' solution 43
4.3.1. Technical limitations to OTT transitioning 43
4.3.2. A regulatory obstacle to transitioning to 'everything OTT': release windows 46
4.3.3. Strategic threats to transitioning to 'everything OTT' 47
4.3.4. Potential unwillingness of consumers to pay for individual offerings 49
4.4. Migrating towards mixed TV + OTT distribution 50

Tables and Figures

Table 1: The top 10 audiences for movies shown on French TV in 2013 by release type and nationality 10
Table 2: The most followed sports in the United States and the United Kingdom in 2012 11
Table 3: The largest French TV audiences between 2003 and 2013 11
Table 4: Themes and pricing strategies of premium television services in the United States, France and United
Kingdom 13
Table 5: Description of BSkyB's Now TV offerings 13
Table 6: Description of OTT video services provided by the NFL in markets where broadcast rights are part of an
exclusive contract with one or more linear channels 25
Table 7: Description of OTT video services provided by the NFL in markets where broadcast rights are not part of
an exclusive contract with one or more linear channels 25
Table 8: Description of OTT video services provided by the NBA in the United States and Canada 27
Table 9: Description of OTT video services provided by the NBA outside the United States and Canada 27
Table 10: Description of pricing plans offered by FilmoTV 35
Table 11: Average price for a 30-second spot and advertising revenue totals during the Super Bowl between 2004
and 2013 40
Table 12: The 5 most-watched sports on television in France in 2013 43

***

Figure 1: Premium content distribution value chain and breakdown of value by player according to distribution type7
Figure 2: The television value chain in North America, 2012 8
Figure 3: Change in a movies unitary value over time 9
Figure 4: The top 50 TV audiences in France by genre in 2012 and 2013 10
Figure 5: Content offerings from TF1, M6 and Canal+ by genre in 2012 in terms of volume 12
Figure 6: Premium TV channel offerings in the United States, France and United Kingdom in 2013 12
Figure 7: Simplified chart of the major North American media groups in 2013 15
Figure 8: Revenues from theatrical releases in the United States by studio and type of studio, 2012 16
Figure 9: Number of French-made movies, number of active producers and number of movies by producer
between 2009 and 2012 16
Figure 10: Revenues for US and UK movie studios according to distribution channel in 2012 18
Figure 11: Production cost of one hour of fiction for a premiere, by channel, France, 2012 18
Figure 12: Revenues from the global professional sports industry by source of revenue in 2012 19
Figure 13: Pay-TV distributor retransmission fees paid to channels by genre in the United States in 1995 and 201219
Figure 14: Pay-TV distributor retransmission fees by channel and by genre in the United States in 1995 and 2012 20
Figure 15: Broadcast rights fees for France's Ligue 1 and League 2 and the Premier League in the United Kingdom in
2000 and 2012 20
Figure 16: Distribution of TV end market value according to activity in North America in 2012 21
Figure 17: Illustration of the distribution strategies employed by premium content rights holders 22
Figure 18: OTT service positioning of the three major US leagues, the NFL, NBA and MLS, based on the popularity
of the sport, the market and the distribution channel 23
Figure 19: OTT service positioning of the NFL based on the popularity of the sport, the market and the distribution
channel 24
Figure 20: OTT service positioning of the NBA based on the popularity of the sport, the market and the distribution
channel 26
Figure 21: OTT service positioning of the MLS based on the popularity of the sport, the market and the distribution
channel 28
Figure 22: Description of access plans for TennisTV 29
Figure 23: List of channels available on the Livesport.tv platform 30
Figure 24: Revenue over time from French-initiative films released between 2004 and 2007 30
Figure 25: Those with rights to broadcast content belonging to the 6 major US studios as part of an on-demand
service in the main European countries 31
Figure 26: Warner's VOD website in Germany 32 OTT Strategies Relating to Premium Content Rights Holders: Sport - Cinema - TV Series
www.idate.org © IDATE 2014 5
Figure 27: The Walt Disney Company content distribution according to network type (managed or open) and type of
on-demand service 33
Figure 28: Hulu Plus subscriber growth, 2011-2013 34
Figure 29: The LionsgateVOD YouTube channel 34
Figure 30: MLB video revenues by revenue source and share of OTT revenues in total video revenues, United
States 36
Figure 31: The premium content distribution value chain and breakdown of value by player according to distribution
type 38
Figure 32: The top 6 sports leagues in terms of revenue in 2012 39
Figure 33: TV rights sales of the 5 major professional football leagues in 2013 41
Figure 34: Evaluation of the number of subscribers required to generate revenues equivalent to broadcast fees paid
by Canal+ 42
Figure 35: Penetration growth of fixed broadband internet access in homes in the United States and the major
European markets, 2012-2017 44
Figure 36: Penetration growth of 4G access in homes among the populations of the United States and the major
European markets, 2012-2017 44
Figure 37: Usage trends of MLB.tv subscribers by type of device between the 2011 and 2012 seasons 45
Figure 38: Penetration growth of smartphones and tablets in households in the United States and in the 5 main
European countries (FR, GE, IT, SP, UK), 2012-2017 46
Figure 39: Penetration growth of connected TVs and connectable media boxes in households in the United States
and in the 5 main European countries (FR, GE, IT, SP, UK), 2012-2017 46
Figure 40: Comparison of release windows for video content by channel in France and the United Kingdom 47
Figure 41: Distribution of video revenues by channel in the United States, the United Kingdom, France and
Germany in 2013 47
Figure 42: Market share of the major EST players in the United States by type of content, 2012 48
Figure 43: Market share of the major players in rental video on demand in the United States, movies, 2012 48
Figure 44: Foothold of the major US video-on-demand services in Europe, 2013 49
Figure 45: OTT transition scenarios 50

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