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OCI Report 2020

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OCI Report 2020 Online Copyright Infringement Tracker Latest wave of research (March 2020) Overview and Key findings Intellectual Property Office is an operating name of the Patent Office Founded in July 2011, AudienceNet’s reputation for innovative, “real-time” ISBN: 978-1-910790-87-8 research grew steadily from its start-point in the music, entertainment and Online Copyright Infringement Tracker technology industries, through a wide range of both public and private sector Latest wave of research (March 2020) Overview and organisations, governments, NGOs and philanthropic organisations. Key findings. AudienceNet has built a reputation as one of the primary sources of Published by The Intellectual Property Office intelligence on music and entertainment. We conduct ad-hoc and (global) January 2021 tracking projects for industry bodies such as the IFPI, Entertainment Retail Association (ERA) and the BPI, as well as major record labels (Universal, 1 2 3 4 5 6 7 8 9 10 Warner and Sony) and platforms such as SoundCloud and Spotify. © Crown Copyright 2020 Report by: You may re-use this information (excluding logos) Sania Haq - Head of Research free of charge in any format or medium, under the Isaac Schling - Research Manager terms of the Open Government Licence. To view Laura-Jane Taylor - Senior Research Executive this licence, visit http://www.nationalarchives.gov. uk/doc/open-government-licence/ or email: [email protected] Where we have identified any third party copyright information you will need to obtain permission from the copyright holders concerned. Any enquiries regarding this publication should be sent to: The Intellectual Property Office Concept House Cardiff Road Newport NP10 8QQ Tel: 0300 300 2000 Email: [email protected] This publication is available from our website at www.gov.uk/ipo Contents Executive Summary ....................................................................................................... 1 Notable changes in consumption ................................................................................. 2 Infringement levels ........................................................................................................ 3 Qualitative Summary ..................................................................................................... 4 Category Summaries ..................................................................................................... 5 Music .............................................................................................................................. 6 Film ................................................................................................................................. 7 TV .................................................................................................................................... 8 Live Sport ....................................................................................................................... 9 Video Games ................................................................................................................ 10 Software ....................................................................................................................... 11 E-books ........................................................................................................................ 12 Digital Magazines......................................................................................................... 13 Audiobooks .................................................................................................................. 14 OCI 2020 – Overview and comparison of trends ....................................................... 16 Background ................................................................................................................. 36 Methodology ................................................................................................................ 36 Navigating the report ................................................................................................... 39 OCI 2020 Context - Life during the COVID-19 pandemic ......................................... 40 Coping mechanisms and the role of entertainment .................................................. 41 Coping mechanisms and the role of entertainment .................................................. 42 OCI 2020 context - life during the COVID-19 pandemic ............................................ 43 Music ............................................................................................................................ 45 Film ............................................................................................................................... 74 TV programmes/series .............................................................................................. 104 Live sport .................................................................................................................... 132 Video games ............................................................................................................... 149 Software ..................................................................................................................... 167 E-publishing ............................................................................................................... 182 Audiobooks ................................................................................................................ 212 Digital visual images .................................................................................................. 227 Behaviour Change Opportunities ............................................................................. 230 Key drivers of infringement ....................................................................................... 231 Communications Testing ........................................................................................... 232 Communications Testing ........................................................................................... 233 Qualitative Summary ................................................................................................ 234 Technical appendix .................................................................................................... 236 Online Copyright Infringement Tracker | 1 Executive Summary This wave of the research was asking about a period markedly different from previous years. For much of the time-period respondents were being asked to reflect on (i.e. the previous three months) and during the time of fieldwork, the UK (and much of the world) was in a state of lockdown owing to the COVID-19 pandemic. Many data points, perhaps as a result, appear to have shifted when compared to last year’s study. OVERALL SUMMARY • Consumption (i.e. downloading • The main drivers for online or streaming content online) was consumption were cost, the choice consistent across a number of available and the convenience categories compared to last year. of being able to consume content There were some key differences whenever they want. which included a decline in the proportion of our sample who had • The overall level of infringement downloaded music and TV. There for all content categories was also a decline in the proportion (excluding digital visual images) who had streamed live sport and an was at 23%, which is 2% lower than increase in those streaming films. where it had been for the previous four years. • Passion for the content categories remained robust during the COVID-19 pandemic with respondents agreeing that many of them played a central role in their lives. 2 | Intellectual Property Office Notable changes in consumption Compared to 2019 TV streamers over the past three • The proportion who had streamed months (average number of legal hours): films over the previous three months was up by 8% to 42% - the highest it 2019 2020 has been over the past six years and matches the proportion of those who 93 122 had streamed TV. The amount of hours hours legal content consumed in both categories also increased while the amount of illegal content either remained the same or decreased. Film streamers over the past three months (average number of legal hours): 2019 2020 57 77 hours hours • The proportion who had downloaded Music tracks downloaded legally over the music was down (by 8% to 23%) past three months (average): compared to last year, with the 2019 2020 proportion streaming remaining broadly unchanged (3% decrease to Legal 37%). Despite a decrease in the 75 80 overall proportion downloading, the volume of tracks downloaded by both legal and illegal methods per 2019 2020 respondent increased. Illegally 10 21 • The proportion who had streamed live sport had almost halved % who had streamed live sport: compared with last year. 2019 2020 14% 8% Online Copyright Infringement Tracker | 3 Infringement levels OVERALL INFRINGEMENT LEVEL 23% Below average infringement levels TV, audiobooks and video games were notably lower than average infringement levels. TV: 14% Audiobooks: 14% Video games:11% Average infringement levels Film, software, music and e-books were around, or just below, average infringement levels Film: 20% Software: 20% Music:18% E-books: 17% Above average infringement levels Above average infringement levels were seen for live sports and digital magazines. Live sports: 37% Digital magazines: 28% 4 | Intellectual Property Office Qualitative Summary In the qualitative
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