BBC Trust in Its Analysis of Market Impact
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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 -
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 -
Provision of VOD Access Services: 2012 Report
Provision of Video on Demand Access Services - 2012 Report - A report on the level of provision by On Demand Programme Service providers of subtitling, audio description, signing and other services for people with disabilities relating to sight or hearing or both Published 28 November 2012 The Authority for Television On Demand Limited Registered in England and Wales No. 5137314 Provision of Video On Demand Access Services: 2012 Report 2 Contents Executive Summary……………………………………….…. Page 3 Introduction .......................................................................... Page 4 The Questionnaire................................................................. Page 4 The Responses ..................................................................... Page 5 Services for people with disabilities relating to hearing….. Page 6 Services for people with disabilities relating to sight……... Page 9 Platform capabilities……………………………………….......... Page 10 Barriers to provision of access services…………………..... Page 11 Next steps .............................................................................. Page 12 Annex 1: The questionnaire ................................................ Page 13 Annex 2: List of providers asked to respond……..…….. Page 18 The Authority for Television On Demand Limited Registered in England and Wales No. 5137314 Provision of Video On Demand Access Services: 2012 Report 3 Executive Summary As part of ATVOD’s duty to encourage services providers to make their On Demand Programme Services (“ODPS”) more accessible to people with disabilities affecting their sight or hearing, ATVOD conducts an annual survey of current levels of provision of such ‘access services’. The first such report was published in November 2011. This report details the responses we received to our second major survey of regulated service providers which closed on 21 September 2012. ATVOD invited all providers of ODPS to indicate the scale of provision of each type of access service, together with any future plans for access service provision. -
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. -
Seachange International Announces Fourth Quarter and Year End Results
March 13, 2008 SeaChange International Announces Fourth Quarter and Year End Results -- Strong quarterly revenues of $47.9 million -- Second consecutive quarter of profitability -- $7 million of cash generated from operations in the fourth quarter -- Projecting fiscal 2009 profitability ACTON, Mass.--(BUSINESS WIRE)-- SeaChange International, Inc. (NASDAQ: SEAC) a leading provider of software and hardware solutions for video on demand (VOD) television, announced financial results for its fiscal fourth quarter and year ended January 31, 2008. Total revenues for the quarter were $47.8 million which was $7.7 million or 19% higher than total revenues of $40.1 million for the fourth quarter of last year. Revenues for the fourth quarter were the second highest in the Company's history. Net income for the fourth quarter was $14.6 million or $0.48 per diluted share compared with a net loss of $3.7 million or $0.13 per diluted share for the fourth quarter of last year. Net income for this year's fourth quarter included a $12.6 million gain on the sale of the Company's interest in FilmFlex Movies Limited, a U.K.-based joint venture that provides an exclusive VOD movie service to Virgin Media. Adjusted EBITDA (1) (Earnings before Interest, Taxes, Depreciation, Amortization, equity income in earnings of affiliates, and stock-based compensation expense) in the fourth quarter was $5.5 million compared to an Adjusted EBITDA loss of $0.3 million for the fourth quarter of fiscal 2007. Adjusted EBITDA for the fourth quarter of fiscal 2008 excluded the gain on the FilmFlex divestiture. -
Pay TV Market Overview Annex 8 to Pay TV Market Investigation Consultation
Pay TV market overview Annex 8 to pay TV market investigation consultation Publication date: 18 December 2007 Annex 8 to pay TV market investigation consultation - pay TV market overview Contents Section Page 1 Introduction 1 2 History of multi-channel television in the UK 2 3 Television offerings available in the UK 22 4 Technology overview 60 Annex 8 to pay TV market investigation consultation - pay TV market overview Section 1 1 Introduction 1.1 The aim of this annex is to provide an overview of the digital TV services available to UK consumers, with the main focus on pay TV services. 1.2 Section 2 describes the UK pay TV landscape, including the current environment and its historical development. It also sets out the supply chain and revenue flows in the chain. 1.3 Section 3 sets out detailed information about the main retail services provided over the UK’s TV platforms. This part examines each platform / retail provider in a similar way and includes information on: • platform coverage and geographical limitations; • subscription numbers (if publicly available) by platform and TV package; • the carriage of TV channels owned by the platform operators and rival platforms; • the availability of video on demand (VoD), digital video recorder (DVR), high definition (HD) and interactive services; • the availability of other communications services such as broadband, fixed line and mobile telephony services. 1.4 Section 4 provides an overview of relevant technologies and likely future developments. 1 Annex 8 to pay TV market investigation consultation - pay TV market overview Section 2 2 History of multi-channel television in the UK Introduction 2.1 Television in the UK is distributed using four main distribution technologies, through which a number of companies provide free-to-air (FTA) and pay TV services to consumers: • Terrestrial television is distributed in both analogue and digital formats. -
Broadcast and on Demand Bulletin Issue Number 309 18/07/16
Ofcom Broadcast and On Demand Bulletin Issue number 309 18 July 2016 1 Ofcom Broadcast and On Demand Bulletin 309 18 July 2016 Contents Introduction 3 Broadcast Standards cases In Breach/Resolved Stage Fright Sky Movies Premiere and Virgin Media EPG, 26 March 2016, 13:00 5 Resolved The Day the Hands will Speak Unity FM, 26 March 2016, 21:00 11 Broadcast Licence Conditions cases In Breach Production of recordings ARY News, 5 and 8 January 2016 17 Broadcasting licensees’ non-payment of licence fees Various licensees 19 In Breach/Resolved Provision of information: relevant turnover submission Various licensees 20 Broadcast Fairness and Privacy cases Upheld Complaint by Mr Davinder Bal on his own behalf and on behalf of Sikh Channel PTC News, PTC Punjabi, 14 November 2015 22 Tables of cases Investigations Not in Breach 30 Complaints assessed, not investigated 31 Complaints outside of remit 35 Investigations List 37 2 Ofcom Broadcast and On Demand Bulletin 309 18 July 2016 Introduction Under the Communications Act 2003 (“the Act”), Ofcom has a duty to set standards for broadcast content as appear to it best calculated to secure the standards objectives1. Ofcom also has a duty to secure that every provider of a notifiable On Demand Programme Services (“ODPS”) complies with certain standards requirements as set out in the Act2. Ofcom must include these standards in a code, codes or rules. These are listed below. The Broadcast and On Demand Bulletin reports on the outcome of investigations into alleged breaches of those Ofcom codes and rules below, as well as licence conditions with which broadcasters regulated by Ofcom are required to comply. -
Codes Used in D&M
CODES USED IN D&M - MCPS A DISTRIBUTIONS D&M Code D&M Name Category Further details Source Type Code Source Type Name Z98 UK/Ireland Commercial International 2 20 South African (SAMRO) General & Broadcasting (TV only) International 3 Overseas 21 Australian (APRA) General & Broadcasting International 3 Overseas 36 USA (BMI) General & Broadcasting International 3 Overseas 38 USA (SESAC) Broadcasting International 3 Overseas 39 USA (ASCAP) General & Broadcasting International 3 Overseas 47 Japanese (JASRAC) General & Broadcasting International 3 Overseas 48 Israeli (ACUM) General & Broadcasting International 3 Overseas 048M Norway (NCB) International 3 Overseas 049M Algeria (ONDA) International 3 Overseas 58 Bulgarian (MUSICAUTOR) General & Broadcasting International 3 Overseas 62 Russian (RAO) General & Broadcasting International 3 Overseas 74 Austrian (AKM) General & Broadcasting International 3 Overseas 75 Belgian (SABAM) General & Broadcasting International 3 Overseas 79 Hungarian (ARTISJUS) General & Broadcasting International 3 Overseas 80 Danish (KODA) General & Broadcasting International 3 Overseas 81 Netherlands (BUMA) General & Broadcasting International 3 Overseas 83 Finnish (TEOSTO) General & Broadcasting International 3 Overseas 84 French (SACEM) General & Broadcasting International 3 Overseas 85 German (GEMA) General & Broadcasting International 3 Overseas 86 Hong Kong (CASH) General & Broadcasting International 3 Overseas 87 Italian (SIAE) General & Broadcasting International 3 Overseas 88 Mexican (SACM) General & Broadcasting