How the Disruption of Cable will Change TV Forever.

Paying for TV has been a curious consumer phenomenon. There was a time when TV was free to consumers. It was delivered as a broadcast over-the-air and paid for either by commercials (US) or by taxes on viewers (Europe mostly).

The big shift was convincing consumers to pay for something that used to be free. The initial benefit was that the quality of the picture would be much better. The second benefit was an increase in the number of channels. VHF and UHF television would cover about three and 5 channels respectively while cable could offer dozens, many specializing on specific types of content like the Home Box Office (HBO) offering movies and ESPN offering sports only and MTV music videos and CNN news only.

These benefits were very attractive during the 1980s, to the extent that about 60% of US households adopted cable. An additional group later adopted satellite-based pay-TV as the technology became reasonably affordable.

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These benefits were priced modestly but as the quality and breadth of programming increased, prices rose. An average cable bill of $40/month in 1995 is $130 today. Some of that revenue went into upgrading the capital equipment and higher production values, but more went to the sports leagues and their players whose business models increasingly depended on broadcast rights.

And so over a period of about 40 years, watching TV went from free to quite expensive. More expensive even than a family’s communications costs (i.e. telephone service.) That’s quite an achievement at a time when technology disruption caused huge price reductions in other goods and services.

Over time, some of the benefits began to be less relevant. Commercials are more abundant than ever. The quality of the TV picture is actually worse due to compression than one might get with over-the-air digital broadcast. Finally, the abundance of channels is beyond anyone’s absorption rate. Those channels which used to be “pure” became polluted and undifferentiated as each tried to be the other.

On top of these paradoxes is the fact that actual penetration of the service has been declining. As the graph above shows, Cable TV has declined (though Pay TV much less so). The industry has reached saturation decades ago and has not offered anything meaningful in terms of innovation.

Disruption theory suggests that once a product over-serves on meaningful bases of value creation (and underserves on value) it opens the door to disruption. Which leads to the question. Has cable past its prime time? Twenty years have passed since the industry reached saturation and prices keep rising. The average cable bill is projected to rise to over $200/month by 2020.

This has left the industry open for disruption. Users are cutting cords, the “uncabled” or “never-cabled” are a significant portion of the population. 13.5% of broadband households with an adult under 35 have no pay-TV subscriptions. 8.6 million US households have broadband Internet but no pay-TV subscription. That’s 7.3% of households, up from 4.2% in 2010.  Another 5.6 million households “are prime to be among the next wave of cord-cutters,” according to Experian.

The same phenomenon occurred with mobile vs. fixed telephones. For several years it seemed that mobile was sustaining to fixed or that fixed was immune due to lock-ins. The fixed telephone incumbents insisted that the data was inconclusive. Then the trickle of abandonment turned into a waterfall. The quality of service for mobile kept increasing and, with data, it became clear that the mobile devices could unleash a new wave of functionality and value. The same phenomenon occurred again as the music industry shifted from CD’s to digital.

And so it goes. A business dies first slowly then quickly. The exact timing is tricky because of the non-linearity of the phenomenon. It’s also hard to declare end-of-life since business zombies will try to hold on to life as long as possible. What is clear however is that the economics will change dramatically and the alliances between talent and distribution will shift to entrants and away from incumbents. The point when we look back and say that cable as we know it was finished could come by the end of this decade.

Mobile Advertising expected to surpass desktop by 2017

Mobile advertising is growing so rapidly that it will pass desktop advertising by 2017, according to a new report from eMarketer.

Leading the way will be search ads; mobile accounts for 22% of all search ads this year and is expected to grow to 60% by 2017. It was at 2% only three years ago. About half of all spending on display ads will be in mobile’s column by 2017 as well. Other key findings:

Mobile search ads should be worth $4.34 billion this year, up from $3.95 billion in 2012.

Mobile display ads should bring in $3.81 billion in 2013, up from $3.38 billion last year.

Mobile ad dollars overall will more than double from last year to $8.5 billion.

Video-ad revenue on mobile and desktops is expected to hit $4.1 billion this year and rise to $9.2 billon in 2017.

New Report highlights online video growth

FreeWheel has released a new report that highlights video viewership trends in 2012, based on aggregated data from the company’s entertainment clients, including FOX, ESPN, VEVO, and AOL, among others. The company says its findings are derived from more than 13.5 billion video ad views. Among the major findings:

Web video ads are becoming more like TV spots: In 2012, the standard 30-second TV spot became the most used format on the web (42% of all digital video ads). This is at the expense of 15-second spots, which now account for 34% of video ads.

Ad volume continues to grow: Q4 video ad volume rose 47% year-over-year, fueled largely by holiday spending and increased ad loads. In fact, web videos of 20+ minutes now have 9.4 video ads per video view, which FreeWheel says is the most since it began reporting this data in 2010, and up from 6.9 per video view during Q4 2011. Q4 pre-roll volume increased 45% year-over-year and Q4 mid-roll volume jumped up 60%.

Video ad completion rates are at an all-time high: 93% for long-form content (20+ minutes); 81% for mid-form content (5-20 minutes); and 68% for short-form content (less than 5 minutes).

Video viewing on non-PC/Macs is growing, and iOS is leading the charge: In Q4 2011, viewing on devices like smartphones, tablets, and gaming consoles accounted for 2% of total video viewing volume. By Q4 2012, that number is up to 12%. More than 1.8 billion video views occurred on these devices in Q4 2012. Apple devices continue to dominate, with iOS devices accounting for 60% of non-PC/Mac video viewing. Android devices represent 32% of such video viewing.

YouTube Scales Back Original Content Partnerships

YouTube is planning on reinvesting in only about 40% of the current original channels on the video site. This doesn’t mean that the channels that are cut off will be kicked off the site, just that they will no longer be an active part of YouTube’s original content initiative.

The new deals will most likely be similar to the original ones, in that YouTube will front up to $5 million to produce original content, will recoup that money via advertising, after which the site and the content owners will split ad revenues 50/50. According to AllThingsD, for all the channels that haven’t yet earned back all of the money YouTube invested in them, the video giant will continue to collect all of the ad revenue generated by those channels.

There’s also an understanding that any content that is produced as part of the original content initiative will be exclusive to YouTube for a year

Original Programming, The New Internet Video Land Grab

This week, Hulu announced a slate of 10 exclusive shows coming to its platform this summer—one of the most aggressive moves yet in a land grab that is taking place among the pioneers of Internet video. Netflix has now green-lighted five premium series, and earlier this month, Amazon unveiled Amazon Studios, its first foray into original video. At YouTube, Google is plowing $100 million into launching 100 channels, with the goal of creating more content than there are hours in the day to watch.

In the hypercompetitive community of TV creation, where fortunes are made and programs are killed without mercy, online is where the action is. “The phrase that I keep hearing a lot is that it’s the Wild West,” says J.D. Walsh, the showrunner behind the original Hulu series, Battleground. “And I think that it is the Wild West. What that connotes to me is that nobody really knows what the rules are, what’s going to be stable, or who is going to [emerge as] the leaders. But even within the Wild West, you did have some major cities—and that’s what you’re seeing with these platforms.”

Hulu, Netflix, Amazon, and YouTube are all taking a unique approach to original programming on the Web. Their differing bets—on such questions as quantity, polish, advertising versus subscriptions, nudity, and more—provide a hint of what the future of “television” will resemble.

Hulu, which is jointly owned by the legacy television networks, is coming to resemble a broad-interest network with catholic tastes. Of the 10 series announced this week, three are wholly original to Hulu, and they run the gamut: there’s Spoilers, a kind of movie club hosted by Kevin Smith (Clerks); Up to Speed, a travelogue by Richard Linklater (Dazed and Confused); and We Got Next, a “bro-mantic comedy” about a pickup basketball clique. The other seven titles, for which Hulu bought exclusive streaming rights, involve everything from teen pregnancy to the British clergy to a faux-gritty mockumentary set on an elementary-school playground.

Andy Forssell, the executive in charge of content—and a $500 million annual budget—says he has no idea how many titles Hulu will come to produce in the coming years. “We’re quality-gated,” he said in a recent interview. “There’s no quota that I want to go hit. We don’t have a set number of hours to fill, like a lot of traditional networks do—that’s actually an advantage I want to jealously guard.”

“A year ago, it was difficult to have people audition for our show because they just thought, ‘Oh, it’s just going to be on the Internet.’ Now we don’t have that problem anymore.”

Jason Kilar, the chief executive officer of U.S. online video content provider Hulu. (Kyodo / Landov)

One thing Hulu’s original titles will never depict, though, is nudity. That’s in part because a significant portion of the company’s revenue comes from advertising.

That provides an easy point of comparison with Netflix, which has sought to reposition itself as the HBO of the Internet, home to premium dramas and comedies that viewers are used to finding on pay-tier cable channels. That includes the promise of gore—horror auteur Eli Roth is developing a werewolf series titled Hemlock Grove—and, when appropriate, boobs. In April, at an event in Las Vegas that offered a first look at Netflix’s original programs, much was made of the shower scenes to come in Orange Is the New Black, a comedy set in a women’s prison.

The first Netflix series, Lilyhammer, premiered in the United States in February, and four more will come in 2013, including the $100 million drama House of Cards, with a pilot directed by David Fincher (The Social Network) and Kevin Spacey in the lead role. While Hulu plans to release episodes of its programs week by week, as the broadcast and cable networks do, Netflix will make whole seasons available to stream at once, a competitive advantage in courting the most artistically demanding writers and directors.

Amazon is far behind Hulu and Netflix’s leads, having only just unveiled its Amazon Studios division in early May. But its model is intriguingly disruptive, and of a piece with the company’s dotcom and retail roots. While Hulu and Netflix are hobnobbing with Morgan Spurlock and Jenji Kohan, Amazon is crowd-sourcing its production process, soliciting pilot scripts from the general public.

After a 45-day option period, Amazon will offer chosen artists $10,000; if the series makes it to the Amazon Instant Video service, creators get $55,000 and up to 5 percent of the proceeds from toy and T-shirt sales. And for now, Amazon is taking the opposite of Hulu’s kitchen-sink approach to genre, asking for pitches specifically in comedy and children’s programming.

Then there’s YouTube, with the deep pockets of Google and a deeper commitment to the messy, anything-goes world of user-generated Web video. Its 100 subsidized channels will feature sports talk, family fare, self-help, and virtually everything else users expect of the YouTube jungle. These episodes will be Web-sized—a couple of minutes each, instead of the familiar 22-minute blocks that will be found on Amazon—and creators will get a cut of Google’s advertising.

Why are these online video giants all rushing into original content? A number of factors play a role. With more homes gaining access to broadband Internet—and higher quality feeds—the audience for streaming is reaching a critical mass. Viewers have more choices about where to watch video, too—Friday Night Lights is available on Amazon Instant, Netflix, Hulu, Apple’s iTunes, and other services. As these libraries get more similar, the streaming companies have only two options for differentiating themselves: either pay through the nose for exclusive deals, or put that money toward great original programming.

The talent is ready. “A year ago, it was difficult to have people audition for our show because they just thought, ‘Oh, it’s just going to be on the Internet,’” says Battleground’s Walsh. “Now we don’t have that problem anymore.”

Online Video Viewership Continues Rapid Climb

According to data from April’s comScore’s Video Metrix report:
181 million U.S. internet users watched nearly 37 billion online videos.
The top five digital video properties on the web were Google/YouTube (157.7 million unique viewers); Yahoo Sites (53.6 million unique viewers); VEVO (49.5 million); Facebook.com (44.3 million); and Microsoft Sites (42.8 million).

Of the 37 billion video views, Google/YouTube was responsible for 17 billion, while Hulu and Yahoo accounted for 901 million and 742 million, respectively.

The average viewer watched 21.8 hours of online video content, with Google/YouTube (7.2 hours) and Hulu (3.8 hours) earning the highest average engagement among the top 10 properties.

U.S. internet users watched 9.5 billion video ads in April, making it another record-breaking month for video ad views.

Hulu led the way with 1.6 billion video ads delivered, followed by Google/YouTube (1.3 billion), BrightRoll Video Network (943 million), Adap.tv (881 million), and TubeMogul Video Ad Platform (831 million).

Total time spent watching video ads amounted to 3.9 billion minutes, with Hulu once again leading the way as it delivered 670 million minutes worth of video ads.

Overall, 84.5% of the U.S. internet audience viewed online video.

Three Reasons why Video on TV is still better than TV online

Google, Microsoft and AOL are hoping that their web video offerings and NewFront presentations will help them extract a healthy slice of the TV industry’s upfront money this year.

That all-too-familiar annual rite of spring is upon us. The trades are full of pre-negotiation rhetoric. Industry conferences are dotted with panels of shadow-boxing buyers and sellers. Every day it seems we get reports from industry equity analysts telling us which networks will see pricing growth and which holding companies are best situated to hold the line.

This year, however, we have a new dynamic. A group of would-be interlopers are trying to nudge their way into the TV advertising futures market, where advertisers and their agencies make billions of dollars in commitments to lock up the best inventory and, they hope, best pricing.

No, it’s not the cable networks. They’ve been trying to crash the party for years, and some have even gotten their own seats at the table. These crashers are the web folks: Google, Microsoft, Hulu, AOL and others hoping to reframe the upfront conversation from “just about TV” to “all about video.”

They have some strong arguments. Web video is growing, with hundreds of millions of streams a month in the U.S. Much of the higher-quality web video now carries interruptive video ads, not unlike the ads we get on TV. Web video delivers targeting and measurement, just like the web (it is the web) and; finally, it gives advertisers and agencies the cross-platform product showing up in everyone’s briefs this year as we all prepare for a multiscreen, multiplatform digital-media future.

The web guys scored a lot of good points with their presentations. They got some great visibility. However, they aren’t going to get cut into that action at the “adult” table that they so cherish, at least not this year. Here is why:

There’s not enough reach yet.
The upfront is a futures market where people buy things they need that are precious and scarce. For mass-awareness advertisers, massive reach accumulated quickly is scarce. That is why TV media is so in demand. That is why the biggest and best shows are bought in the upfront. Web video just doesn’t have that kind of scale yet. As Nielsen told us just last week in its annual Three Screen Report, 98% of video in the U.S. is viewed on TV. Only 1% is viewed on the web. Web video is not an alternative to TV when it takes a month to deliver as much national reach as two TV networks deliver in one night.

The best stuff will be bundled.
Advertisers do want web video, but the best stuff — the “premium” video associated with existing TV programming — is already being bundled and sold by the TV networks in packages. It is largely being sold with TV, not as a stand-alone web product.

Buying streamers means buying heavy TV viewers.
If you dig into the recent Nielsen numbers, you realize that the one quintile of U.S. consumers who stream 95% of the web video also consume four hours of regular TV each day. Advertisers buying TV are already buying the heavy web-video viewers. Thus, if you buy web video, you’re not buying incremental reach. You’re buying more frequency against heavy TV viewers.

Change is glacial.
U.S. viewers have been spending more time watching cable than broadcast programming for well over 10 years. However, according to Nielsen, last year was the first year that cable networks received more advertising than their broadcast-network brethren, despite now having twice the viewership of broadcast. In this industry, it takes a long time to earn your place at the table. The web folks won’t get entirely shut out. Some web video will be bought this year around the upfront. Digital planners created enough noise with the NewFronts that clients are going to demand they get something. After all, web video is this year’s bright shiny object. Plus, if nothing else, acquiring some will give the buyers something to use for leverage — even if it’s illusory — when the TV networks ask for the inevitable double-digit pricing increase. Yes, Google, Microsoft and AOL will get some of TV’s scraps. It’s progress, even if it’s not yet a seat at the table.

Hulu Grows to 40% of the Premium Online Video Market

Hulu kicked off the Digital Content NewFronts (DCNF) yesterday with its presentation in New York. Among the highlights:

Key insights:
Hulu has more than 360 content partners between Hulu and Hulu Plus, and offers current season programming from five of the six major U.S. broadcast networks.

As of March 2012, Hulu has approximately 40,000 hours of content.

In February 2012, Americans watched 2.5 billion videos on Hulu.

Hulu represents 20% of the overall online video marketplace, and 40% of the online premium video marketplace.

Has served over 1,000 brand advertisers in its history.