Posts for 'Netflix'

Disputes between broadcasters and pay-TV operators over so-called "retransmission consent" fee payments are a dime a dozen. Broadcasters, seeking their slice of the monthly fees pay-TV operators pay cable TV networks, have bargained hard for this new revenue stream. In this sense, the current CBS-Time Warner Cable retrans standoff is business as usual. What is new, however, is that digital rights - and more specifically the huge licensing fees that OTT's richest players, Netflix and Amazon, are now paying - have taken a central role in this particular drama.

As the WSJ reported last Friday, the real obstacle between CBS and TWC isn't what TWC will pay to retransmit the CBS signal, but rather what digital rights will be included, and at what incremental cost. Five years ago, these rights were a virtual throwaway, but now it's a totally different situation. Here's what changed:

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I'm pleased to present the 190th edition of the VideoNuze podcast with my weekly partner Colin Dixon of nScreenMedia.

We start our discussion with data that TiVo Research and Analytics (TRA) released this past Monday, which concluded, among other things, that Netflix does not cannibalize traditional TV viewing. TRA also identified the percentage of respondents who subscribe to Netflix (and other services) who watched "House of Cards." Using these numbers, Colin calculates that about 10 million people watched the program, a healthy amount by any standard (Netflix hasn't publicly released HoC's audience). Colin sees a class of "super-viewers" whose traditional TV consumption is augmented by, not substituted with, Netflix.

One thing that caught my attention in the TRA data was that while Netflix had a 57% adoption rate among respondents, Amazon Prime was right behind it, at 50% (Hulu Plus was further back at 18%). To be fair, it's not clear whether these Prime members are actually watching video included in Prime, or are mainly focused on the unlimited shipping benefit. But, assuming that many DO watch video, it's an impressive number for Amazon, and underscores how far Prime has come in the 2 1/2 years since Instant Videos were launched.

Colin and I discuss Amazon's broader agenda and how its aggressive pursuit of video is strategic in supporting both Prime and the Kindle ecosystem (all of which I described in my post this past Monday). Given Amazon's willingness to operate on razor-thin margins, I foresee the price for licensing high-quality content continuing to rise, which will in turn pinch profitability (and subscriber growth) at pure play OTT providers like Netflix.

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Late yesterday Netflix reported its Q2 2013 results that were mostly solid, although U.S. net subscriber additions were a little lower than many expected. Beyond the results themselves, it was the method by which they were discussed that was noteworthy - for the first time via a live-streamed video Q&A session, powered by Google Hangouts (embedded below). CEO Reed Hastings, CFO David Wells and Chief Content Officer Ted Sarandos were peppered with questions from CNBC reporter Julia Boorstin and BTIG analyst Rich Greenfield.

As Hastings said upfront, the format was meant to emulate a more informal, "fireside chat" style discussion, as opposed to the typical, highly structured quarterly audio conference call with Wall St. analysts. No doubt reactions to the video Q&A are subjective, but I liked it a lot and believe it should be a model for other companies to follow. Importantly, the Q&A was another example of the expansive role online video can play not just in entertainment, but also in communications.

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Three items last week brought to mind one central question I've long wondered about: can traditionally free, ad-supported online video providers make the leap to a paid, subscription model? The first item was a long piece in Variety that chronicled the struggles the first set of YouTube content partners trying subscriptions is having upselling their free viewers. Second, Reuters broke the news that Machinima, one of the biggest online video players (and a big YouTube partner) is planning to go it alone in creating its own subscription service to complement its free, ad-supported offering. And third was the milestone news that Netflix, by far the most successful online subscription service, garnered 14 Emmy nominations, including 9 for "House of Cards" alone.

How do these all tie together?

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Netflix's original series "House of Cards" received 9 Emmy nominations this morning including in 3 of the marquee categories best drama, best actor (Kevin Spacey) and best actress (Robin Wright). The nominations were a first for online original programming and therefore are a bona fide milestone for the rapidly growing online video medium. In addition, Netflix picked up 3 Emmy nominations for "Arrested Development."

While Netflix bet big to put HoC in a league with cable stalwarts - and other best drama nominees "Game of Thrones," "Breaking Bad," "Homeland" and "Mad Men" plus the lone broadcast series "Downton Abbey" - an intriguing question to ask is whether the HoC nominations signal the beginning of an Emmy trend for online original programs or whether HoC is more of an outlier? In other words, can online get on the same type of award-winning growth curve for its originals as cable networks have over the last 20 years, helping drive pay-TV subscriber acquisition and retention?

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I'm pleased to present the 186th edition of the VideoNuze weekly podcast with my weekly partner Colin Dixon of nScreenMedia. Colin attended a CDN conference earlier this week first shares observations on the potential long-term rollout of 4K TV and HEVC, along with the deployment of Netflix's Open Connect CDN based on conversations with Netflix and Time Warner Cable.

Next we turn to data from NPD earlier this week indicating that for watching TV shows, DVR usage is more than twice as popular as SVOD services like Netflix, Hulu Plus, Amazon, which I wrote about earlier this week. Colin caveats the data, noting that in SVOD-specific homes he believes the usage is stronger than NPD suggests.

Lastly we touch on news that Samsung will be selling curved TVs, for $13K apiece. Colin and I are skeptics, to say the least.

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SVOD services like Netflix, Hulu Plus and Amazon Prime Instant Video are all the all the rage these days and a core part of their popularity is their ever-expanding library of TV series. No question, binge-viewing a TV season or series on an SVOD service is now one of life's little pleasures.

In SVOD's wake, one technology that always seems to get overshadowed is the DVR. But, according to data from NPD, watching TV shows on DVRs is actually more than twice as popular as watching them on SVOD services like Netflix. When asked how they watched TV shows in Q1 '13, viewers cited DVR/TiVo 42%, and SVOD 16%. As seen in the chart below, DVR/TiVo was in third place, after linear viewing on the TV network itself.

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I'm pleased to present the 177th edition of the VideoNuze podcast with my weekly partner Colin Dixon of nScreenMedia. Earlier this week, Netflix reported solid results for Q1 '13, adding a total of about 3 million new subscribers, 2 million in the U.S. and a million internationally. Netflix projects it can ultimately obtain 60-90 million U.S. subscribers, which would be 2-3 times as many as HBO, the biggest "premium TV" network.

As I wrote earlier this week, if that were to occur - and it's still a big if - it would mean Netflix would have to get a lot of middle and lower income American homes to layer on another $8/mo or more to their already substantial pay-TV bills, OR there would have to be material cord-cutting that essentially frees up household budget for SVOD subscriptions. Colin suggests a third way, which would be "cord-shaving" - subscribers cutting back on existing pay-TV services like sports networks or premium channels to make room for Netflix in their budgets.

That of course leads to the question of what HBO might do as it observes Netflix's continued growth. It's hard to see HBO standing still, yet, for reasons HBO has discussed in the past, unbundling itself from pay-TV would be a huge step for the company. Last but not least, Amazon - which become Netflix's biggest U.S. SVOD competitor - is rumored to have a set-top box introduction planned, which could also shift the competitive balance in the U.S. Bottom line, there are a lot of twists and turns yet to occur in SVOD in the U.S.

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Netflix reported solid Q1 results yesterday, gaining 2 million streaming subscribers in the U.S. and another 1 million internationally. Netflix now has 27.9 paying subscribers in the U.S. and 6.33 paying subscribers internationally. With growth re-started since the 2011 Qwikster debacle, a persistent question is how big can Netflix become in the U.S.?

Traditionally many have thought the answer is in the 30 million subscriber range, which is where the biggest premium channel, HBO, has pretty much leveled out. This line of thinking assumes that Netflix is essentially another premium channel and consumers will treat it as such.

But Netflix's CEO Reed Hastings always answers the size question by asserting that Netflix can grow to become 2-3 times HBO's size, implying 60-90 million subscribers ultimately. He points to differentiators like Netflix having more content, being less expensive and available on more devices, having greater personalization, etc.

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At starting prices of $8/month or so, affordable subscription video on demand (SVOD) services like Netflix, Hulu Plus, Amazon, Blockbuster and others would seem to appeal to middle and lower income Americans. But a new report from Nielsen finds the exact opposite is true: wealthier homes, with household income over $100K/year, adopt SVOD services at 185% of their index, while lower income homes, with household income under $50K/year, subscribe at just 47% of their index.

Adding to the picture, "Professional" homes subscribing to an SVOD service are at 150% of their index, while "Blue Collar" homes are just 63% of their index.

The data seems to support a contention that Netflix has repeatedly made, which is that SVOD services are typically adopted in addition to - not in substitution for - pay-TV services. To the extent that pay-TV rates have continue to increase, it makes sense that only upper income homes can afford to then layer on an SVOD service on top of pay-TV.

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I'm pleased to present the 174th edition of the VideoNuze podcast with my weekly partner Colin Dixon of nScreenMedia. There's no question video is moving to streaming and electronic delivery, but DVDs still have plenty of life left. That's what Redbox is banking on to get a foothold with its new Redbox Instant service, as CEO Shawn Strickland explains in this interview. Both Colin and I think it's a smart, albeit risky, strategy given the inevitable downward trend in DVD usage.

I see part of DVD's durability as due to Hollywood's windowing practices. Because of the multi-billion pay-TV window, licensing to networks like HBO, Starz and EPIX, major studios delay the availability of movies in SVOD services. The intervening home video access continues to give DVDs life. Unless and until Hollywood abandons the pay-TV window, DVDs will continue to have life. And since Netflix has essentially abandoned DVDs, there's a big opportunity for Redbox.

However, Redbox Instant has another problem, which is that its streaming content selection today is terrible, as Colin explains. That means prospective subscribers have to determine whether its worth the $3/mo or so they're effectively paying for it on top of the DVD value which is worth around $4-$5/mo. Colin and I are both skeptical. Even if Redbox Instant doesn't fly, we both see DVDs being with us for a long time to come.

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Reminder: Colin and I will be at NABShow next Mon. and Tues. in our booth SU12907. If you're there and have a moment, please stop by to say hi.



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I'm pleased to present the 173rd edition of the VideoNuze podcast with my weekly partner Colin Dixon of nScreenMedia. This week we focus on the rising cost of content to pay-TV operators and the rising quality of content found online.

In a post yesterday, Colin validates pay-TV operators' complaints about programming costs, noting, for example, that at Comcast they rose from 34% of video revenue in '08 to 40% in '11 (at Time Warner Cable they were 41% and at DirecTV they were 45%). As we discuss, these escalating costs are eating into operators' profit margins as subscriber rate increases haven't kept pace. As VideoNuze readers know, sports is a major culprit in all of this, though entertainment networks have raised their own rates as well.

Against this backdrop, the quality of content available online is improving markedly. For example in just the past couple of weeks, we've seen Netflix announce another new series, with the producers of The Matrix films and Babylon5, Amazon Studios announce new shows "Betas," "Zombieland" and "Sarah Solves It" and Crackle a second season of "Chosen."  Further, anime network Crunchyroll disclosed it's now up to 200K paying subscribers, TheBlaze (Glenn Beck's online video network) is raising $40M. Even the BBC, one of the most traditional TV networks, announced it will be premiering shows on its iPlayer.

In short, the quality of programming online is getting better all the time, while the cost of content to pay-TV operators is escalating, in turn putting pressure on subscriber rates. All of this means viewership patterns are bound to change and with the broader video industry.

Reminder: sign up for "Sizing Up Apple TV" a free video webinar, next Tuesday, April 2nd featuring Brightcove's Jeremy Allaire and me.
    
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I attended the D: Dive Into Media conference earlier this week for the first time. It is mainly a series of one-on-one interviews with senior executives from a variety of media and technology companies, plus networking. Overall it was a great conference, and it's hard to beat a couple of days in beautiful Dana Point, CA, especially when coming off a blizzard in Boston.

My main interest was the video-related sessions, and from those I had 6 takeaways which I share below (along with selected session video clips), in no particular order:

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I'm pleased to present the 165th edition of the VideoNuze podcast with my weekly partner Colin Dixon of nScreenMedia. This week I first share some reflections from spending 2 days at the NATPE conference earlier this week, focusing on content creators' attitudes toward online video.

That's a segue into discussing "binge-viewing," which will get a lot more visibility starting today, as Netflix releases all 13 episodes of its high-profile original series "House of Cards" (I watched the first 5 minutes of Chapter 1 this morning, and I'm hooked already). We discuss how binge-viewing is changing viewers' expectations and influencing content creators. For more about the pros and cons of Netflix's binge-viewing  strategy, see my prior analysis here.

Next we talk about eyeIO, and its THX certification announced yesterday. Colin provides a layman's explanation, that augments his post yesterday, of why this is so important along with the context of H.264 and the new H.265 standard just approved by the ITU. We also review the benefits to content providers and viewers.  

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I'm pleased to present the 164th edition of the VideoNuze podcast with my weekly partner Colin Dixon, now heading his own firm nScreenMedia. This week we dig into Netflix's Q4 results, which were reported this week. As I wrote yesterday, Q4 was certainly the best quarter Netflix has had in a couple of years, and it's encouraging to see the company getting back on track. It is still quite early in understanding how the overall streaming market will shape up and what Netflix's adoption will be.

In the discussion, we explore key questions around the company's growth prospects, competitive landscape and international expansion. On the last topic in particular, Colin adds his observations of how Netflix is doing in certain international markets where he been doing research and traveling.

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Netflix reported its Q4 '12 results late yesterday, adding 2.05 million domestic streaming subscribers, 1.81 million international streaming subscribers and losing 380K domestic DVD subscribers. All of these numbers were slightly better than the high end of the guidance range that Netflix provided with its Q3 report back on Oct. 23rd. Netflix also reported an $8 million quarterly profit globally, compared to its forecasted range of a loss of $13 million to a profit of $2 million.

Predictably - and just as happened a year ago when Netflix reported a relatively strong Q4 '11 - this morning's headlines are touting the company's turnaround (a sampling of what I've seen: "A Resurgent Netflix Beats Projections, Even Its Own," "Netflix's Q4 restores company's investment luster," "Netflix Posts Surprise Profit," "Netflix smashes street expectations," etc.). Investors are even giddier, sending Netflix's shares up more than 44% this morning.

To be fair, after the horrendous period beginning in mid-2011, with the ill-fated Qwikster and aggressive rate increase decisions, the Q4 results are quite heartening. Domestic streaming subscriber additions were at their best level since the heady days of Q1 '11. DVD subscription losses slowed to their lowest level since the losses began following Qwikster. And international turned in its best quarter of subscriber acquisitions to date. Management also said that churn is improving and international payment issues are being resolved.

Nonetheless, and at the risk of sounding like the "skunk at the picnic," I think there are still some key open questions for the company, which I would generally put into 3 buckets:

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Audience fragmentation isn't a new concept, but the proliferation of high-quality online-only originals suggests the trend is only going to intensify. These days, a week doesn't go by without another key player announcing a new or renewed online-only series, in turn creating ever-more choices for viewers and advertisers. Combine the surge in originals with the broad adoption of video-enabled connected devices, and the pieces are falling into place for even more changes in viewing behaviors.

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Welcome to 2013! If you were mostly checked out over the past 1-2 weeks (or were only paying attention to the fiscal cliff roller coaster), you didn't miss a whole lot in the video world. However, there were 5 items that caught my attention which I briefly describe below:

See the 5 items

Having binge viewed 8 episodes of the final season of "The Wire" on HBOGO over the long weekend, I am very intrigued by Netflix's strategy to release all 13 episodes of its first high-profile original series, "House of Cards" on Feb. 1st.  Based on the trailer (see below), the show looks very compelling. The question is whether Netflix's strategy strikes the correct balance between delighting its subscribers vs. best serving its own business interests.

Binge viewing, or watching numerous episodes of a TV series in a concentrated time period, has become a huge phenomenon, pioneered by Netflix's subscribers themselves. The opportunity to watch as much as you want of a series, on multiple devices, and at any time you prefer (and without any commercials!), is the ultimate in consumer control. As Netflix migrated to streaming, it erased the last obstacle to binge viewing, the need to mail back one DVD in order to get the next one with successive episodes.

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I'm pleased to present the 154th edition of the VideoNuze-TDG podcast with my weekly partner Colin Dixon, senior analyst at The Diffusion Group. This week finds Colin in Copenhagen, in the middle of the Nordic region which is seeing a lot of OTT activity from Netflix, HBO Nordic and others. Colin provides an update on what he's learned.

In addition, we discuss YouTube's declining market share, which in September stood at 33.2%, down from 53.1% as recently as July. I delved deeply into all of the year-over-year data this past Monday. Colin adds another dimension to the analysis, saying that this reflects a shift away from viewing short clips, toward longer-form viewing.  

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