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27 Mar 2012
PEVE Entertainment 2012: British Museum, London, 27-28 March 2012
(All sessions and timings are subject to change)
Session sponsor: DEGE
This first consumer panel of the conference will discuss how people engage with entertainment in the home and out-of-the-home. The panellists will be carefully selected by market researcher Vital Findings to conform to key demographic and behavioural profiles and will be available to answer questions from delegates. Key topics will include:
• The choice of format: what drives viewing on a particular platform? Does quality matter?
• Appointment to view: what content and when? Is there such a thing as prime time anymore?
• Interactivity: how important is it to the entertainment experience?
• Discovery: how do they find out about new content?
• Technology: do the latest gadgets encourage more paid for content consumption?
Today's advanced TVs combine integrated Smart or Connected TV platforms that offer consumer access to on-demand video services and games content. This session will examine how far these new services have advanced into the living room and what opportunities they offer for content owners and device manufacturers. It will also assess the current hurdles to market development and whether they pose a significant threat to those primary screen incumbents ? pay TV operators, broadcasters and console manufacturers ? that currently dominate content distribution to the TV.
Danny Kaye is responsible for new technologies for packaged media and digital distribution, consumer research, retail category management and market intelligence at Fox. He will assess how entertainment consumption is changing, what impact these changes are having on consumer behaviour and, crucially, how the industry needs to react to make the most of this evolution.
In the last few years 3D has infiltrated every part of the entertainment sector. How much of this is due to genuine consumer demand and how much simply to industry excitement? How do the different dynamics of 3D affect entertainment business models? Do the later exploitation windows (TV, VOD, Blu-ray) have any impact on a 3D movie's bottom line or is it ultimately still all about box office? Executives from across the 3D value chain explore the technology's impact on the bottom line to date and assess its potential to increase spending on entertainment.
As smartphones are now mainstream and tablet sales continue to explode, increasing numbers of video services are being packaged as apps and distributed via app stores. We explore the opportunities for content owners in the apps market: Do consumers want to watch TV shows and movies on their mobile phones, or just on their tablets? Or are they just looking for companion material? Do advertising-supported revenue models work best ? or can apps act like paid-for packaged media for the mobile consumer?
Session sponsor: DEGE
A different panel of consumers puts a value on the different entertainment choices facing modern viewers. How much are they prepared to pay for the cinema, packaged media, digital and subscription services? What are their attitudes to the windows of exploitation? We will explore attitudes to ownership, rental and anytime, anywhere access.
In a keynote speech at PEVE 2008 in Paris, Matt related how at a recent family Christmas a dozen or so 10-25 year-olds had shown no interest in the pile of DVDs he had brought along, instead 'YouTubing [and] texting, often to each other in the room.' In characteristically forthright style he told delegates 'It scared the crap out of me because I thought "I've got to get those guys back on board".' Four years later, we've invited him back to tell us how he - and the rest of Hollywood - have been trying to do just that, whether it's working - and what else needs to be done.
How has UltraViolet fared during its first few months of availability in the US and UK? How widespread is industry support for the new standard and to what extent are consumers aware of it? What form will it take as it moves from the early adopter phase towards mass market and how do the key players intend to manage this transition - and make happen?
Does - and should - the theatrical sector care about the downstream exploitation of movies? What they doing to engage with operators in other exploitation windows? Is there any effective challenge to cinema's ability to platform a movie? Can alternative content ever offer a real revenue alternative for exhibitors to the Hollywood model?
Netflix, Lovefilm, Facebook, YouTube and Blinkbox - are they serious challengers to the pay TV operators in the eyes of consumers? Which are the platforms and business models that will offer content owners the greatest revenue opportunities in the future?
Image used ©Trustees of the British Museum
PEVE Entertainment 2012: British Museum, London, 27-28 March 2012
