Archives de catégorie : Video Marketing

État d’urgence décrété à Charlotte, la deuxième nuit de violences fait un blessé

«Le civil blessé par balle pendant la manifestation est sous assistance respiratoire, dans un état critique. Pas décédé», a écrit la municipalité sur son compte Twitter, après avoir expliqué plus tôt que la victime était morte dans des violences «entre civils».

Un journaliste de l’AFP présent devant l’hôtel Omni Charlotte, où se déroulait la manifestation, a vu un homme chuter, manifestement blessé par balle et saignant abondamment.

La maire de Charlotte Jennifer Roberts a expliqué que la victime avait été transférée vers un hôpital mais n’a pas précisé son identité. Il est «confirmé» que le tireur «n’est pas un policier», a-t-elle déclaré sur CNN.

La mort du manifestant est intervenue lors de violences entre forces de l’ordre et manifestants qui protestaient, pour la deuxième nuit consécutive, contre la mort d’un homme noir abattu par un policier.

Réagissez sur le blogue de Richard Hétu

En fin d’après-midi, une centaine d’étudiants, en majorité noirs, se sont allongés au sol pour protester contre les abus policiers, certains entonnant des gospels.

Ils étaient convaincus que Keith Lamont Scott, 43 ans, a été victime mardi d’une bavure flagrante.

Selon la police, M. Scott a été mortellement blessé par balle alors qu’il refusait de lâcher son arme de poing. Ses proches affirment au contraire qu’il n’avait qu’un livre en main.

Sur les lieux du drame se sont rassemblés mercredi des responsables religieux, des militants associatifs et des voisins.

L’arme «est un mensonge», assurait à l’AFP Taheshia Williams, une résidente du quartier, dont la fille étudie dans la même école que l’un des enfants de Scott.

«Ils ont enlevé le livre et l’ont remplacé par une arme. Cet homme était assis ici tous les jours, à attendre que son fils descende de l’autobus», ajoutait-elle.

La police a fait couler du «sang innocent», dénonçait également John Barnett, un militant des droits civiques. «Un homme attendait son fils à l’arrêt de bus et qu’il s’est retrouvé avec quatre balles dans la poitrine, ça je le sais».

La mort de Keith Lamont Scott, dans un contexte de récents faits similaires dans d’autres villes américaines, a poussé des habitants à protester mardi soir à Charlotte. Ils ont brandi des pancartes affichant «Les vies des Noirs comptent» et ont scandé «Pas de justice, pas de paix».

How to Reverse-Engineer the Marketing Success of Fortune 500 Companies

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By Aaron Agius

In the 2003 film Paycheck, Ben Affleck’s character is paid a huge sum of money to be locked in a clean room where he reverse engineers products, breaking them down into individual components to determine how they were made. He not only replicates processes, but he also discovers ways to create newer, better products.

You can utilize the same approach with some of the most successful marketing campaigns, minus the conspiracy, gun play, and Hollywood special effects.

Fortune 500 campaigns aren’t successful just because of the messaging or images, or because they have millions of dollars behind campaigns that are produced by agencies like Grey or Ogilvy Mather. It’s the individual components of those campaigns that come together to create a high return. When you break those campaigns down, you can examine the separate components to see how your startup might benefit from similar strategies.

Here’s what you should pay attention to:

1. Get the messaging right. It doesn’t matter how much money you throw at a marketing campaign. If the messaging is wrong, you’re going to severely limit your chances of succeeding.

I don’t want you to think that it’s just black and white, though. It’s a lot more like Skee-Ball. Sink the ball in just the right place and score big. Miss it by just a bit, and you still get some points. Miss the mark by a long shot and you don’t get squat.

Another important factor is the scale of the message. Some of the most effective campaigns from major companies say more with a single sentence or word–or even just an image–than with content-heavy ads. It’s not really what they say, it’s how they say it. The picture the messaging creates, or the story behind it and the emotional connection it makes, likely contributes to the success of these campaigns.

Focus on painting a big picture around the value proposition to get your messaging on point.

2. The role of distribution. Not all of the best and biggest Fortune 500 campaigns were rolled out in traditional marketing channels like TV, radio, and print. Old Spice’s most successful marketing campaign, in fact, was done with online video.

Look at how Fortune 500 companies distribute their content, and you’ll begin to see patterns in how they focus on specific channels. Some target video, others leverage written content, and while many have a diverse network of channels, they might not use all of them.

The channels and distribution tools they use aren’t arbitrary; they’re based on research. Fortune 500s know where the majority of their audience can be found, and they know what types of content are most likely to get the most engagement.

Instead of trying to replicate the success of Fortune 500s, take a cue from their research and find out where your audience is spending their time. Look for missed opportunities and watch for untapped channels where audience segments may be hiding.

3. How the campaign is promoted and carried. The process through which content is promoted and carried is one aspect that you can try to replicate with your own marketing, especially if larger brands are in a similar industry. When big campaigns take off, pay close attention to how the content is being carried and promoted across the web. Whether it’s a landing page, a video, a blog, or a social post, you can follow the conversations throughout social media to see how fans share it with one another.

Likewise, trace the backlinks on campaigns to find out who is talking about them in articles and blogs. When you run your own campaigns and start publishing content, you should contact these sources to try and boost the signal.

4. Perfecting the timing. There are two aspects to consider with timing when you’re trying to reverse engineer marketing success.

The first has to do with the timing of an event. Some campaigns are time-sensitive and play off of trending topics, fads, one-off or annual events that would be nearly impossible to replicate once the campaign is live.

For Mother’s Day in 2012, PG launched a “Thank You, Mom” campaign that featured athletes training from a young age to become Olympic athletes. The video emphasized the impact mothers had on their children as they struggled, overcame obstacles, and went on to become winners.

It was a step outside of PG’s norm since the company’s products don’t really relate to sporting goods, but according to Hubspot, each of the “Raising an Olympian” videos received close to a million views, and the main “Thank You, Mom” video received nearly 53 million views, resulting in more coverage than Nike. The campaign was immensely successful thanks to a combination of timing and understanding the lifestyle of the audience.

Another aspect of timing comes in when content gets released. Buffer published research about the best times to post content through various channels, painting a clear picture about the rise and fall of engagement based on time of day and day of the week.

Look at the most successful campaigns from major companies and you’ll begin to see patterns in the timing and frequency of content publishing.

5. The audience is key. There’s a recurring theme through each of the above points: the audience. When you reverse engineer any successful marketing campaign, whether it’s for a Fortune 500 company or a small startup, it’s always going to end with the audience.

Audience research is critical for any campaign and it provides you with a road map for moving forward including:

  • What they want or need to hear
  • Their pain points
  • How they like to consume content
  • Where they gather online
  • How they socialize and share content
  • When they’re most active

Break down any successful campaign into those components and search for opportunities to do it better, especially in how the audience is targeted. By doing so, you’ll see tremendous growth in your startup’s marketing campaigns.

About the Author

Post by: Aaron Agius

Aaron Agius is an experienced search, content and social marketer. He has worked with some of the world’s largest and most recognized brands, including Salesforce, Coca-Cola, Target and others, to build their online presence. See more from Aaron at Louder Online, his blog, Facebook, Twitter, Google+ and LinkedIn.

Company: Louder Online
Website: www.louder.online.com
Connect with me on Facebook, Twitter, LinkedIn, and Google+.

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How Brands Can Use Fan-Generated Video Content in Sports Marketing Campaigns – Portada

sports-video

At #Portada16 Sports marketing experts and brand marketers spoke about how they can make the best use of homemade video content generated by sports fans.

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Neha Misra, vice president of strategy and analytics at Mbuy.

“Sports are all about emotions, and so is marketing,” explained Neha Misra, vice president of strategy and analytics at Mbuy, during Portada’s Hispanic Sports Marketing Forum in New York City on September 14.

But brands have been facing the challenge to adapting to new platforms and also to learning the way to really making the most out of them. Doing this comes with the promise of reaching more fans worldwide.

“Video is going to be huge, no matter where it comes from, it will be huge,” said Kyle Harris, EVP at The Mundial Group.

But, ¿what happens when every fan becomes a content creator through its own videos filmed with its cameras and cellphones?

It is not a new thing anymore that personal and amateur recordings go viral and get million views worldwide; without a marketing strategy behind it, or the huge investment that comes with it.

Sports brands are embracing user generated video content because they see how it can help them make their own market grow.

Andy Wasef, managing director, digital consulting strategist for ESP Properties, explained how brands not only don’t have to worry about it, but how this content even helps them spread their work.

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Andy Wasef, managing director, digital consulting strategist for ESP Properties.

 

“As right holders we should encourage (fans making and sharing videos) as much as possible, » he says. The truth people will enjoy watching some minutes of personal videos, but because of its quality « no one would rather watch a whole game with somebody else’s shaky hand.”

Snapchat, Periscope and other live platforms, Wasef ads, are actually helping brands like ESPN market their properties.

This is exactly the opposite of what happened with Napster in the music industry. Sports brands are embracing this type of content because they see how it can help make their own market grow.

Heineken, for example, started asking their consumers to share videos of them enjoying a soccer game with the brand’s beer during World Cup 2014. The reaction was very positive, admits Edwin Hincapie, multicultural marketing manager for Heineken. « It helped us to know more about our consumers, and we also had some great stories. »

« But because we are an alcoholic beverage we have to be very careful of not connecting our brand with underaged consumers, » he ads.

Now, instead of asking followers to record their own videos, Heineken is producing its own behind the scenes productions « where we can take the fans to a place they wouldn’t have access to without us. »

While Heineken got some great content from fans and now stopped this contributions, ESPN is still finding worthy input from this practice.

Each brand has its stages, but they all have found that at one point, instead of fighting social content, promoting their followers to create content and share it trough their network using social media is useful both for connecting with them and getting to know them. By doing this, they have managed to convert a possible threat into an ally.

 


Ximena Cassab @xcassab

Jack Reacher 2 Wants You to Punch A Ton Of Bad Guys In Its Online Video Game

With only a month to go until Jack Reacher: Never Go Back is released, Paramount has unveiled Never Stop Punching to the world to commemorate National Punch Day. See, it’s funny because the day is actually referring to the « punch » drinks, but this is…never mind. The side-scroller game is playable on the Jack Reacher movie website and can also be downloaded on Google Play. Taking away all those pesky plot points in favor of basic, 8-bit goodness, this video game lets users play as a Jack Reacher who « has nothing to lose and everything to punch. » The controls are simple enough when playing on a keyboard: press the ‘Z’ key to punch and the ‘X’ key to jump. As you charge forward, the bad guys keep coming, leaving it up to you whether to jump out of their way or punch them in the face. Just make sure not to lose those five hearts, otherwise you’ll be forced to stop punching…permanently!

51% online video plays on mobile devices

Ooyala has published its Q2 2016 Global Video Index, drawing insights from more than 3.5 billion video analytic events per day from 220 million viewers across the world.

This quarter, the report put specific focus on ‘power users’. Ooyala defined a “power user” as a customer who visited on more days each month — at least seven days per month but typically many more — and made more frequent visits each day than an “average” customer.

Among power user findings (comparing AVoD/SVoD/TVoD):

  • On an AVoD news site users visit 37 per cent more during the workweek than on weekends and use computers to consume content for longer periods, compared to the average user who uses a mobile phone.
  • Visitors to an AVoD entertainment platform on Thursdays and Fridays watch 17 per cent more content than they do Monday to Wednesday, and 37 per cent more than they do on Saturday and Sunday.
  • 76 per cent of power users on an SVoD entertainment platform visit 2–3 days a week, with peak viewing occurring Friday and Saturday. Mondays see the least traffic from power users.
  • And a transactional platform (TVoD) sees its slowest traffic early in the week and an explosion of streaming on weekends: about 13X more than weekdays.

Looking outside of power users, at all data analysed:

iOS or Android:

  • 98 per cent of video plays on mobile devices are on iOS or Android.
  • iOS owned 52 per cent of video plays on smartphones.
  • 91 per cent of videos viewed on tablets in Q2 2015 were via iOS, but Apple’s share has declined to just 65 per cent a year later.
  • Users watch video for longer on iOS devices than on Android devices, but the gap is narrowing slightly.

Mobile video trends

  • 51 per cent of all plays are mobile, an increase of 15 per cent from a year ago and 203 per cent from 2014.
  • Plays on smartphones increased 10 per cent from a year ago.
  • Plays on tablets increased 51 per cent from a year ago.

Time watched by device and video length:

  • Short form video (5 minutes) dominates share of viewing time on smartphones at 55 per cent.
  • Medium form video (520 minutes) earns 1820 per cent of viewing time on smartphones, tablets and computers.
  • Long form video (20 minutes or longer) makes up almost all viewing time on set top devices (92 per cent) and 46 per cent of tablet time.

Moving Beyond Flash: The Yahoo HTML5 Video Player

Adobe Flash, once the de-facto standard for media playback on the web, has lost favor in the industry due to increasing concerns over security and performance. At the same time, requiring a plugin for video playback in browsers is losing favor among users as well. As a result, the industry is moving toward HTML5 for video playback.

HTML5 video playback development is still nascent, and it was initially supported by browsers in its simplest form. Only recently has support been expanded to include capabilities for adaptive streaming. Adaptive streaming offers two key benefits:

  • Adaptive Bitrate (ABR): An algorithm that detects a user’s bandwidth, CPU capacity, player size, etc. in real time and accordingly adjusts the bits downloaded to stream video.
  • Variable buffer sizing: A capability that allows us to control the time it takes for the playback to start.

Without ABR and variable buffer sizing, users have a poor viewing experience, as video playback cannot adapt to changing conditions on a user’s device.

These new capabilities have enabled a shift in the video-streaming industry from Flash to HTML5 and JavaScript.

At Yahoo, our video player uses HTML5 across all modern browsers for video playback. In this post we will describe our journey to providing an industry-leading playback experience using HTML5, lay out some of the challenges we faced, and discuss opportunities we see going forward.

The First Steps Toward HTML5

We took the first step in our HTML5 journey in October 2015 when we globally live-streamed a regular season NFL game for the first time. For the event, we deployed a « pure » HTML5 player on Safari; this was based on the native HTML5 support in the browser for HTTP Live Streaming (HLS). As part of that effort, we built the capabilities in our video player to allow different video rendering techniques based on the client environment (viz. browser, Flash support, device configuration, OS, etc.).

Architecture Decision

In order to broadly support HTML5 video on all browsers, we needed to re-architect the way our player streamed video. This presented a number of choices, all of which could impact Yahoo’s business and the user experience.

The first and probably most critical was to determine the streaming protocol to support. The choice was between HLS and DASH, both of which support Adaptive Streaming over HTTP. However, in order to maintain a simple serving stack and get to market quickly, we decided to support HLS. To support iOS, we would have needed to support HLS anyway, and as the standards evolved, Media Source Extensions (MSE) could be made to work with HLS. MSE is a recent advancement to HTML5 standards that allows the dynamic generation of media streams for playback via the video tag.

Our next decision was whether to build, buy, or leverage open source for an HTML5 player. Yahoo was not alone in its desire for an HTML5-based player, and a number of open source options existed. Leveraging one of these players would jump-start our effort. However, analysis, including field tests of the in-market players, confirmed that the available players would not provide the quality, performance, and scale that we expected out of the Yahoo Video Player.

Finally, our existing video player, which supported Flash, was mature and battle tested. We needed to decide whether to port the design and logic from Flash to JavaScript, or rebuild and redesign our player. We chose the latter. In doing so, we were able to address several new design goals, including making it extensible to support DASH at a later stage. This decision allowed us to avoid inheriting the Flash-specific drawbacks of the previous design.

As you will see below, all of the design decisions provided us great benefits.

Zooming into the Future

With decisions determined, we set out to write a player that would remove our dependency on Flash to play video. The project was codenamed « Zoom, » after the arch-nemesis of DC Comics’ superhero, the Flash.

The media pipeline of the player for HLS streaming would look as depicted in Figure 1 below. The player demuxes the incoming transport stream (MPEG-TS) into audio and video parts that are then packaged into the fragmented MP4 format that is understood by the MSE layer in the browser.

Figure 1. Media pipeline for HTML5 content

We designed the new HTML5 player with a few goals in mind. It was to be the following:

  • Modular: Each component could evolve separately and could be tested independently.
  • Extensible: The new player would have the ability to support new features (e.g., DASH) without a redesign.
  • Stateless: We would use components (like ABR) across multiple player instances on a page or app.

Figure 2 below shows the high-level architecture of the new HTML5 MSE-based video player.

Figure 2. Architecture of Yahoo HTML5 Player

Framework Services provide common capabilities like HTTP Loader (for loading video assets), Web Workers (for multithreading), and Bandwidth Estimator.

Stream Media Services include services that deal with the various stages of the media pipeline shown above. This includes loading the transport stream, demuxing and packaging into MP4 that can be played using MSE.

Streaming Controller is the component that manages the video content streaming. It is also the component that consults with the ABR Engine to decide the right bitrate to download.

Playback Controller is the component that orchestrates the video playback using the various modules. It maintains a state machine of the various states the playback can be in. It also provides the APIs to play, pause, seek, etc.

Challenges

First, we were moving from a single framework (Adobe Flash), which provided a consistent environment across browsers, to multiple frameworks (MSE, XHR, Web Workers, HTML5 Media Elements) on diverse platforms and browsers (Chrome, Firefox, IE, Edge, Safari, etc.), each of which added its own quirks to the system.

The second challenge involved advertising. While content video playback has shifted to HTML5, most video advertisers continue to rely on Flash. As such, we had to find a seamless way to serve ad content on Flash while leveraging HTML5 for content playback. We built our player to use different renderers—the component that uses a given rendering technique (Flash, HTML5, etc.) for video playback—while maintaining a seamless experience. This allowed us to give users the optimal experience while protecting ad revenue.

The third challenge was finding ways to increase user engagement, a key metric for the success of video consumption. We wanted users to engage with video continuously without any action that required their initiation, like a click or additional page load. And, at the same time we did not want the experiences (e.g., the page) to implement continuous playback on a per-experience basis. Hence, we decided to make « playlists » a first-class API on the video player itself, where we could program a curated list of videos that are highly contextual and personalized.

Figure 3 below shows the high-level architecture of the Yahoo Video Player.

Figure 3. Architecture of Yahoo Video Player

Controller is the component that manages the switching of renderer and exposes the various playback functions.

Ads Controller is used to manage and play video advertisements.

Playlist Manager manages the playing of a video playlist and exposes the playlist functions.

Performance (viz rebuffering and startup time) is a key driver for user engagement. Making performance-related changes raised a number of obstacles.

Audio/video demultiplexing and MP4 packaging are CPU-intensive operations. If these operations are performed in the main UI thread of the browser, it affects the UI responsiveness of the page and the player. Fortunately, browsers provide Web Workers to facilitate multi-threading, but using them requires message passing between threads.

Our experiments revealed that using a worker for demuxing and MP4 packaging was 20% more efficient in Firefox (vs. not using a Web Worker). On the other hand, we discovered that the overhead of inter-thread message passing is high in IE and Edge, resulting in a higher re-buffering ratio. To overcome these challenges, we added two new design elements:

  • Execute processing units inside a worker
  • Minimize inter-thread messages

The effective use of Web Workers for media transformation gives the Yahoo HTML5 player a distinctive performance edge over other players. These enhancements resulted in a 10% – 20% improvement in CPU and 30% improvement in re-buffering ratio.

Opportunities

While we faced a number of challenges, building a redesigned player in-house gave us the opportunity to introduce features that were not supported in the previous player.

Since we built the capability of switching renderers to support ads using Flash and to support content using HTML5, we were able to build pre-loading capabilities. That is, we can preload the next item in the playlist before it is actually played. For example, once an ad is loaded and starts to play, we can preload the content in the background, thus making for a TV-like transition between ads and content.

We also improved our bandwidth estimation algorithm. Previously, it was purely based on timing the rate of content download. We augmented it with the information we get from the resource timing APIs like TTFB (Time To First Byte).

We also introduced a feature that enabled us to switch bitrates at key frame boundaries. This improves our ability to react to sudden changes in network conditions.

Results

We started the rollout of the new HTML5 player on Google Chrome and have been adding support for more browsers over time. We now have the new HTML5 player running on all modern browsers. Figure 4 below shows video views based on which renderer is used for playback. We use HTML5-based rendering for approximately 70% of our desktop traffic now. This number is set to increase as we complete the roll out of our player across the complete Yahoo network. The most prominent platform that does not support MSE is IE on Windows 7, which will continue to be served via Flash.

Figure 4. Video views based on renderer used

On the important quality metric of rebuffering ratio, the HTML5 player is trending at par or better than our Flash player (Figure 5).

Figure 5. Rebuffering ratio – Flash vs. HTML5

The HTML5 player excels over the Flash player when it comes to the video start time once the user input to play is received. Figure 6 shows the latency between the user click and the rendering of the first frame of the video (Click To Play Latency) of the Flash and HTML5 based players.

Figure 6. Click To Play Latency – Flash vs. HTML5

Advantages of the HTML5 player such as faster load time, better efficiency, etc. are well-reflected in these results.

The Road Ahead

Adaptive streaming on the internet is rapidly evolving. While the industry is improving the playback experience in the context of a single player, at Yahoo, we are also optimizing for video streaming performance of multiple videos on the same page. We are also working to bring our MSE-based HTML5 player to mobile web.

Apple recently announced support for fragmented MP4 as a transport stream in HLS, a decision that aligns well with our strategy to stick with HLS. This gives us three wins:

  • Simplifying the player since fragmented MP4 is natively compatible to MSE.
  • Improving the player performance by avoiding the CPU-intensive demuxing and MP4 packaging steps.
  • Reducing the bandwidth usage for similar content and consequently improve playback quality and startup times.

We remain focused on advancing the state of the art of video streaming on the internet, and we’re hiring! Email me at amitnj@yahoo-inc.com and we can talk about opportunities on our team.

How to Build a Following Using Video Marketing

In this video, Entrepreneur Network partner Jason Swenk discusses the keys to building a large following through video marketing.

Consistency, voice and an offer to help give videos traction. Being yourself will help you stand out from others and discover your company’s voice. It’s not easy though — it took Swenk years to get comfortable on video, so being patient is also important.

Videos that stand on their own and offer help to people lure followers. Even though it seems counterintuitive to give away your best advice for free, think of it like this: People are lazy. Even after you show them how to do something, they’ll still eventually come to you and ask you to do it for them.

Click play to learn how you can build your following through video marketing.

Watch more videos from Jason Swenk on his YouTube channel here.

Related: How to Hire, Manage and Pay Your New Sales Reps

Entrepreneur Network is a premium video network providing entertainment, education and inspiration from successful entrepreneurs and thought leaders. We provide expertise and opportunities to accelerate brand growth and effectively monetize video and audio content distributed across all digital platforms for the business genre.

EN is partnered with hundreds of top YouTube channels in the business vertical and provides partners with distribution on Entrepreneur.com as well as our apps on Amazon Fire, Roku and Apple TV.

Click here to become a part of this growing video network.

Jack Reacher 2 Wants You to Punch A Ton Of Bad Guys In Its Online …

With only a month to go until Jack Reacher: Never Go Back is released, Paramount has unveiled Never Stop Punching to the world to commemorate National Punch Day. See, it’s funny because the day is actually referring to the « punch » drinks, but this is…never mind. The side-scroller game is playable on the Jack Reacher movie website and can also be downloaded on Google Play. Taking away all those pesky plot points in favor of basic, 8-bit goodness, this video game lets users play as a Jack Reacher who « has nothing to lose and everything to punch. » The controls are simple enough when playing on a keyboard: press the ‘Z’ key to punch and the ‘X’ key to jump. As you charge forward, the bad guys keep coming, leaving it up to you whether to jump out of their way or punch them in the face. Just make sure not to lose those five hearts, otherwise you’ll be forced to stop punching…permanently!

IHS’s €3bn online video boom

Netflix Tablet ViewingIHS says the UK will lead a €3 billion boom in subscription video on demand spending across Western Europe.

A new report says Western Europe broke through the €2 billion mark in 2015 and is now forecast to reach €3 billion by then end of 2016.

“The multi-territory international players changed the game dramatically for SVOD in Western Europe in a very short period of time,” said Tania Loeffler, analyst at IHS Technology. “When Netflix launched in the UK, total consumer spending on SVoD in Western Europe more than doubled to €307.6 million in 2012. By the end of 2014, that figure had more than trebled to €1.1 billion due to Netflix’s European expansion and the launch of Amazon Prime in the UK, Germany and Austria.”

IHS is forecasting that year-on-year growth will slow into the forecast period. Nevertheless, by 2018 SVOD will still account for 49% (€4.2 billion) of home video spending in the region and is set to increase to a 58% share or €5.2 billion by 2020.

The analyst points to smaller relatively affluent markets including the Nordic countries, the Benelux and Switzerland that generate a disproportionate amount of consumer spending.

In 2015, Sweden had 3.2 million broadband households and Norway had 2.1 million, compared to Germany’s 26.9 million. However, broadband households in Sweden spent an average of €23.16 on online SVOD services and the average spend in Norway was €89.46; German Broadband Households, in comparison, spent only an average of €6.06 on SVoD services during the same timeframe.

Norwegians are forecast to spend a total of €239.6 million on SVoD by year-end 2016, set to increase to €318.3 million by 2020, which will put it on par with both Spain and Italy (markets with approximately four times as many broadband households). By 2016, Belgium and the Netherlands combined will account for 10 percent of total SVoD spending in Western Europe.