Provision of VOD Access Services: 2012 Report
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Virgin Media Submission
NON-CONFIDENTIAL VERSION VIRGIN MEDIA LIMITED OFCOM INVESTIGATION INTO THE UK PAY TV INDUSTRY1 SUPPLEMENTARY SUBMISSION OF 15 AUGUST 2008 1. INTRODUCTION: UK PAY TV CONSUMERS CAN BE BETTER SERVED 1.1 In January 2007, Virgin Media Limited ("Virgin Media"), together with British Telecommunications plc, Setanta Sport Holdings Limited and Top Up TV Europe Limited (together, "the Parties"), jointly made a submission to Ofcom demonstrating that competition in the UK pay TV market is not working effectively, and calling for Ofcom to make a market investigation reference to the Competition Commission. In this initial submission, a number of subsequent submissions and responses to numerous information request responses2, Virgin Media has provided voluminous evidence of market failure and highlighted specific areas of consumer detriment which result from this market failure. 1.2 Consumers would be demonstrably better off if steps were taken to remedy the features of the market which are preventing, restricting or distorting competition in the supply of pay TV in the UK. Against that background, this supplementary submission provides: (a) further evidence that consumers are not being well served by the current market structure; and (b) [CONFIDENTIAL], a more detailed explanation of the ways that Virgin Media could innovate (and the types of offerings consumers could expect to see) were the distorting features of the market corrected. 1.3 Ofcom has a discretion under section 131 of the Enterprise Act ("EA") to make a market investigation reference to the Competition Commission where: "… it has reasonable grounds to suspect that any feature, or combination of features, of a market in the United Kingdom for goods and services prevents, restricts or distorts competition in connection with the supply or acquisition of any goods or services in the United Kingdom or a part of the United Kingdom." 1.4 There can be no question such "reasonable grounds" have been established since the inception of this process approximately nineteen months ago. -
Annex 2: Providers Required to Respond (Red Indicates Those Who Did Not Respond Within the Required Timeframe)
Video on demand access services report 2016 Annex 2: Providers required to respond (red indicates those who did not respond within the required timeframe) Provider Service(s) AETN UK A&E Networks UK Channel 4 Television Corp All4 Amazon Instant Video Amazon Instant Video AMC Networks Programme AMC Channel Services Ltd AMC Networks International AMC/MGM/Extreme Sports Channels Broadcasting Ltd AXN Northern Europe Ltd ANIMAX (Germany) Arsenal Broadband Ltd Arsenal Player Tinizine Ltd Azoomee Barcroft TV (Barcroft Media) Barcroft TV Bay TV Liverpool Ltd Bay TV Liverpool BBC Worldwide Ltd BBC Worldwide British Film Institute BFI Player Blinkbox Entertainment Ltd BlinkBox British Sign Language Broadcasting BSL Zone Player Trust BT PLC BT TV (BT Vision, BT Sport) Cambridge TV Productions Ltd Cambridge TV Turner Broadcasting System Cartoon Network, Boomerang, Cartoonito, CNN, Europe Ltd Adult Swim, TNT, Boing, TCM Cinema CBS AMC Networks EMEA CBS Reality, CBS Drama, CBS Action, Channels Partnership CBS Europe CBS AMC Networks UK CBS Reality, CBS Drama, CBS Action, Channels Partnership Horror Channel Estuary TV CIC Ltd Channel 7 Chelsea Football Club Chelsea TV Online LocalBuzz Media Networks chizwickbuzz.net Chrominance Television Chrominance Television Cirkus Ltd Cirkus Classical TV Ltd Classical TV Paramount UK Partnership Comedy Central Community Channel Community Channel Curzon Cinemas Ltd Curzon Home Cinema Channel 5 Broadcasting Ltd Demand5 Digitaltheatre.com Ltd www.digitaltheatre.com Discovery Corporate Services Discovery Services Play -
Best Practices Re Regulatory Regimes and Incentives to Develop the Audiovisual Sector in the Caribbean
Best Practices re Regulatory Regimes and Incentives to Develop the Audiovisual Sector in the Caribbean Draft Report on World Best Practices in Legislation, Regulatory Regimes and Incentives Juillet 2009 Best Practices re Regulatory Regimes and Incentives to Develop the Audiovisual Sector in the Caribbean Contrat Nr: 042/2009/WP2/ Project no 28.1-1.048 Cariforum Region By : Yvon Thiec Fernando Labrada Submitted by Altair Asesores S.L. Les opinions exprimées dans ce rapport n’engagent que les auteurs et ne reflètent pas nécessairement celles de la Commission Européenne / The Views expressed in this report do not necessarily reflect the views of the European Commission TABLE OF CONTENTS Executive Summary ........................................................................... 3 I. Foreword ..................................................................................... 7 II. Introduction: Audiovisual regulation for cinema and television programs ........................................................................................ 11 III. The origin of audiovisual regulation ............................................ 13 IV. Quota requirements ................................................................. 15 1. Quota Requirements for theatrical exhibition ............................ 15 1.1. International rules related to quota requirements for theatrical exhibition .................................................................................. 15 1.2. Application of quota requirements for theatrical exhibitions in Western -
12027336.Pdf
Dear Stockholder Against the backdrop of challenging macroeconomic environment in The reinvigoration of Virgin Media Business continued during the year which UK household budgets have been under pressure our leadership with revenue growth increasing to 7% in 2011 compared to 3% in 2010 team and dedicated employees have ensured that 2011 was year We are continuing to exploit our inherent advantage in having deep of significant accomplishment We also made important strategic fibre network that passes aver half of the UKs businesses giving us progress as the demand for better broadband and entertainment significant performance and cost advantages with focus on higher gathered momentum while delivering another very solid financial margin data services We are at the heart of Government public service performance initiatives having been selected as one of only three providers an the Government telecommunications procurement framework We hove Our residential business is serving fast growing market of increasingly also attained key quality and security accreditations that reinforce our discerning data-hungry and digitally-savvy households As people use strong position In the private sector we continue to win new contracts more devices and access content and applications more frequently including our first mobile backhaul agreement in September 2011 and for longer we are well placed to meet and further stimulate that burgeoning demand for greater connectivity We remain proactive in the capital markets too Our actions to increase the Companys operational -
Kantar Media Would Like to Group People Into Groups of Urban and Rural Dwellers
Job Number 451210007 Name of survey Ofcom BBC iPlayer Project Questionnaire Version Final No. Author Charlie Gordon, Ayanda Dlamini Telephone 02071605633 Methodology Online Questionnaire CAWI Duration 20 minutes Sample Size 4,000 Internet Users Sample Description 16+ England, Scotland, Wales, NI adults Sex, approx: Quotas Male – 50% Female – 50% Age, approx.: 16-24 – 14% 25-34 – 17% 35-44 – 16% 45-54 – 18% 55-64 – 15% 65+ – 20% Households with children aged under 16 – 28% Social Grade, approx.: ABC1 – 56% C2DE – 44% Urban and Rural Split Urban – 83% Rural – 17% Ethnicity White – 86% BAME –14% Platform Provider: Sky – 35% Virgin – 13% Freeview only – 42% Any Freeview – 64% Several targets? Gender, age, age & gender, SEG, rural/urban Fieldwork dates March 2019 GDPR1. This survey asks about sensitive topics such as ethnicity, whether you have children, or political opinion. By selecting the Yes button you are consenting for these questions to be asked. Please proceed if you are happy to participate Yes No - SCREEN OUT SHOW TO ALL First, we’d like to ask a couple of questions about yourself to ensure we interview a good cross- section of the population. ASK ALL SINGLE CHOICE DemQ1. Please select your gender. 1. Male 2. Female 3. Other (please specify) 4. Prefer not to say IF CODE 1,3 CODE AS MALE FOR QUOTAS IF CODE 2,4 CODE AS FEMALE FOR QUOTAS ASK ALL SINGLE CHOICE RANGE FROM 1 TO 100 SCREENOUT IF BELOW 16 DemQ2. Please type in your age dAge - FOR QUOTAS 1. 16-24 2. 25-34 3. 35-44 4. -
Your Youview User Guide
A brighter home for everyone Your YouView user guide 7 of the most popular Sky entertainment channels 7 day catch-up The best players on your TV Sky Sports and Sky Movies with a one month commitment Rent the latest blockbusters Dip in and out of What’s inside? Sky Sports and Sky Movies Main features 5-7 one month at a time YouView Guide 8-13 Browse and search programmes in the YouView Guide 8 Record 10 Extra channels 13 On Demand 14-19 Catch up on your TV 14 The TalkTalk Player 16 Renting films and adding Boosts 18 Your TalkTalk PIN 19 More information 21-27 Parental controls 21 5 channels for £30 a month 11 channels for £15 a month Now included with our Settings 22 Channels 501-505 Channels 530 -540 Sky Movies Boost FAQ’s 24 Troubleshooting 25 To add instantly go to the channel and press OK talktalk.co.uk/tvboost Quick connection 27 *You’ll need to have a minimum broadband speed of 5Mb to add TV Boosts. All information and prices in this guide are correct at time of going to print and subject to change. Get the most from your YouView box Enjoy all this: Main Features Access all your favourite Freeview channels Use your TalkTalk PIN to watch more -WTVTfV[#gcYeb`f[X You’ll need a working TV aerial to get your Freeview Sign up to our great value Boosts for a month at a YouView Guide channels. Your YouView box will automatically tune time – perfect for the school holidays or the sports -bYf[X`b fcbcg_Te^ in to the standard channels including some in HD. -
Impact Budgets Classic Engagement Activity Evaluation Toolbox
INDEX INTRODUCTION PLANNING IMPACT IN ACTION IMPACT DISTRIBUTION EVALUATING 1.0 2.0 3.0 4.0 5.0 INTRODUCTION PLANNING IMPACT IMPACT EVALUATING IN ACTION DISTRIBUTION Welcome Why vision & strategy matter Equipping for impact What is impact distribution? We love evaluation The power of film Defining your vision The role of film teams How commercial are impact films? What makes great evaluation Analysing the story environment Developing your strategy Meet the impact producer Types of distribution deals Embracing complexity How change happens Map the issue Consider your subjects Review distribution pathways Making your evaluation plan The challenge for filmmakers The 4 impact dynamics Writing impact budgets Classic engagement activity Evaluation toolbox Know thyself Draft your strategic plan Finding impact funders Impact distribution at work New tools for impact documentary Making impact partners Sign on the dotted line Wrapping up INDEX INTRODUCTION PLANNING IMPACT IN ACTION IMPACT DISTRIBUTION EVALUATING PDF • CL LE ICK AB A K BL IC E L P C Use the top D F • and side • F tabs to navigate D P C through! L E I L C B K A A K B C L I E L C P D F • Please don’t print me! IMPACTGUIDE.ORG Get the printable version INDEX INTRODUCTION PLANNING IMPACT IN ACTION IMPACT DISTRIBUTION EVALUATING A set of tools and guides designed to help all of us who are working with film make even greater impact than we do already. Brought to you by: Made possible by: britdoc.org fordfoundation.org | berthafoundation.org | sundance.org | knightfoundation.org -
STRANGER by the LAKE Bfi.Org.Uk CONTENTS
INSIGHT REPORT STRANGER BY THE LAKE bfi.org.uk CONTENTS CHAPTER ONE: INTRODUCTION 3 CHAPTER TWO: PLANNING AND RELEASE 6 CHAPTER THREE: REVENUES AND BENEFITS 10 CHAPTER FOUR: OVERALL CONCLUSIONS 16 INTRODUCTION The following report analyses the near day-and-date release by Peccadillo Pictures of French thriller Stranger By The Lake. The report, supported by the New Models strand The results were supplemented by a survey of of the BFI Distribution Fund, sought to answer the Peccadillo’s Facebook and membership email lists, following questions: which resulted in another 140 questionnaires being completed. • What are the advantages or disadvantages for releasing Stranger By The Lake on VOD at the same Industry data: The report uses data from a number of time as cinemas? sources to provide objective analysis of performance, and to provide useful comparisons. Data includes • How do the VOD platforms affect cinema going? theatrical box office results and sales information, • And how does a VOD offer so close to the cinema supplied by Peccadillo. The analysis of this kind of release date affect consumer demand? day-and-date releases are also increasingly informed by knowledge acquired from the Insight Reports from the series of releases supported by the BFI’s 1.1 METHODOLOGY New Models fund. The study relied on evidence from a number Analysis: The conclusions are based on a study of sources: of all the sources of data and interviews with key stakeholders. The expectations and perceptions of Exit Polls: Four exit polls of 117 people were carried performance from the distributor Peccadillo were out at Bristol, London, Cambridge and Manchester, discussed before and after the film. -
Annex 3 Barriers to Entry at the Channel Provider Level
NON-CONFIDENTIAL VERSION ANNEX 3 BARRIERS TO ENTRY AT THE CHANNEL PROVIDER LEVEL 1. Introduction 1.1 Ofcom puts forward the proposition there are insurmountable barriers to entry to markets for premium sports and premium film channels that it has defined, principally because other operators cannot compete with Sky for the rights which comprise key inputs in relation to operating in those markets. This argument is central to its conclusion that Sky is likely to be dominant in those “markets”. Ofcom’s arguments on barriers to entry, however: (a) are based on an unreasonable benchmark for entry; (b) are not balanced – they focus only on a set of potential impediments to entry and do not consider a large range of factors that facilitate entry; and (c) are based on theories that are both flawed and contradicted by readily available evidence. Accordingly, Sky considers that it is not possible to rely on the arguments that Ofcom has made in support of a proposition that Sky does not face effective competition for programming rights. 2. Ofcom’s argument 2.1 Ofcom argues that there are significant barriers to entry to the wholesale markets for the supply of premium sports and premium film channels.1 In relation to sports rights, Ofcom argues that these derive from Sky’s “incumbency advantages”,2 or ‘first-mover advantages’ as we might also call them, in bidding for rights when they become available. Ofcom argues further that because rights become available periodically, a potential entrant must repeatedly outbid Sky for rights, over a potentially significant period of time, and is likely to incur losses during that period.3 2.2 In relation to film rights, Ofcom argues that Sky’s contracts with the six major Hollywood studios amount to a significant barrier to entry. -
ANNEX 6 COMMENTARY on the CONSULTATION DOCUMENT in This Annex 6 of Sky's Response We Provide a Non-Exhaustive List of the Erro
NON-CONFIDENTIAL VERSION ANNEX 6 COMMENTARY ON THE CONSULTATION DOCUMENT In this Annex 6 of Sky’s Response we provide a non-exhaustive list of the errors in Ofcom’s Consultation Document, which are not identified elsewhere in this Response. The significant number of errors, inaccuracies and misconceptions suggests that Ofcom has an inadequate understanding of the context in which pay TV services are provided in the UK and elsewhere. A proper appreciation of that context is an essential prerequisite to accurate analysis of the sector. Section 3 Overview of the UK pay TV market ¶ 3.13 “An estimated one million households also receive free-to-view digital satellite.” This appears to be Ofcom’s own estimate of the number of households who use a Sky set-top box to receive television services, but do not subscribe to Sky’s DTH pay TV services. (No source is provided for the estimate.) If this is the case Ofcom should note that the estimate of one million households is subject to a wide margin of error, being based, Sky understands, on an arbitrary assumption that a certain (constant) proportion of churners from Sky’s DTH pay TV services continue to use their set-top boxes to receive digital free to air television services. It is probable that the actual number of such households is substantially higher than this estimate. Moreover, this reference fails to note that all 8.8 million UK and ROI subscribers to Sky’s DTH pay TV service, and subscribers to other DTH pay TV services, also receive “free-to-view digital satellite”. -
Channel 4 and British Film: an Assessment Of
Channel 4 and British Film: An Assessment of Industrial and Cultural Impact, 1982-1998 Laura Mayne This thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 i Abstract This thesis is an historical investigation of Channel 4’s influence on the British film industry and on British film culture between 1982 and 1998. Combining archival research with interview testimony and secondary literature, this thesis presents the history of a broadcaster’s involvement in British film production, while also examining the cultural and industrial impact of this involvement over time. This study of the interdependence of film and television will aim to bring together aspects of what have hitherto been separate disciplinary fields, and as such will make an important contribution to film and television studies. In order to better understand this interdependence, this thesis will offer some original ideas about the relationship between film and television, examining the ways in which Channel 4’s funding methods led to new production practices. Aside from the important part the Channel played in funding (predominantly low-budget) films during periods when the industry was in decline and film finance was scarce, this partnership had profound effects on British cinema in the 1980s and 1990s. In exploring these effects, this thesis will look at the ways in which the film funding practices of the Channel changed the landscape of the film industry, offered opportunities to emerging new talent, altered perceptions of British film culture at home and abroad, fostered innovative aesthetic practices and brought new images of Britain to cinema and television screens. -
BBC Trust in Its Analysis of Market Impact
Canvas: Annexes for proposition 1 Contents page Annex 1 – Nature of costs.............................................................................................................. 3 Annex 2 – Cost recovery................................................................................................................ 4 Annex 3 – Key drivers of distribution costs and details of assumptions......................................... 5 Annex 4 – Possible Merger Control, Competition Law and State Aid Issues................................. 9 Annex 5 – Rights implications: the delivery of BBC linear & on demand services via IPTV ........ 19 Annex 6 – Current position with Freeview Board ......................................................................... 22 Annex 7 – Preliminary Market Impact Assessment...................................................................... 26 Annex 8 – Canvas and the UK ISP community............................................................................ 82 Annex 9 – Venture Structure for Canvas ..................................................................................... 84 2 Annex 1 – Nature of costs The costs can be split into three broad areas with different characteristics: a) Platform technology These costs are specific to Canvas and include: Specification and development of a set top box Integration of software and construction of a testing regime Conceptual development, design and production of a user interface The majority of product and technology costs would be incurred prior