DOCSLIB.ORG

The Future of the TV and Video Landscape by 2030 1 the Future of the TV and Video Landscape by 2030

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Future of the TV and Video Landscape by 2030 1 the Future of the TV and Video Landscape by 2030 The future of the TV and video landscape by 2030 1 The future of the TV and video landscape by 2030 More info and the video: www.deloitte.de/de/future-of-tv-video 02 The future of the TV and video landscape by 2030 Introduction: a market on the move 04 Scenario thinking 05 The underlying drivers – and how we derived them 07 Expert predictions – what we are certain about 11 Journey into our four scenarios 13 Taking a closer look 23 Methodology 25 Contacts, Authors & Sources 26 03 The future of the TV and video landscape by 2030 Introduction: a market on the move “On-demand-services will disrupt the TV and video industry”, “New market players such as Netflix or Amazon will soon replace traditional broadcasters”, “Consumers’ demand for TV and video consumption is fundamentally changing”: established players are being increasingly confronted with horror news about their own positioning within the future TV and video landscape. But will these dramatic predictions really From another perspective, on-demand- This rapidly changing market landscape come true? TV and video are indeed services have quickly changed consumers’ makes future predictions difficult, if not facing much uncertainty, and the extent demand for TV and video consumption. impossible. We therefore adopted a more of change in the sector is hard to foresee. The Deloitte digital media trends survey holistic approach – and we now invite you Streaming services no longer serve as just 2018 states that almost 48% of all US to travel with us to the year 2030 to take a a platform for movies and TV shows, they consumers stream television content every glimpse into four scenarios of the future of are also investing in producing and licensing day or week.1 Likewise in the UK, streaming TV and video. Our scenario approach does their own content. This places them in video services have gained in importance, not aim to predict the most likely outcome, direct competition with the traditional TV already 41% of all consumers purchased but to illustrate what could plausibly happen and video industry. At the same time, TV such a service in the UK.2 Even in the more in the world of TV and video and how channels and media organizations are conservative German TV market, 44% of the today’s market players might adapt to deal starting their own on-demand offerings. population make use of subscription-based with the many changes and uncertainties Also, large content producers are setting up videos-on-demand (SVoD) at least once a along the way. their own streaming services. week.3 With the success of VoD, consumers increasingly expect relevant content accessible at any time, in any place, and in the format that best fits their needs. Fig. 1 – Average weekly video content consumption (in hours) on Total onsuers 2 23 22 22 20 17 17 15 16 15 8 0 7 8 Live broadcast TV Streaming video apan US erany rance rail UK hina 1 Digital Media Trends Survey 2018 (United States) ; 2 Deloitte’s Digital Democracy Survey 2018 (global); 3 Deloitte Media Consumer Survey 2018 (Germany) 04 The future of the TV and video landscape by 2030 Scenario thinking The highly dynamic TV and video market work in different potential futures. It is thus is characterized by emerging new market necessary to generate a set of scenarios, offerings, disruptive digital players, and each of them describing a specific, plausible rapidly changing consumer requirements. world of the future which substantially In this uncertain environment, the strategic differs from the others. steps of relevant stakeholders will be crucial factors influencing the future market The objective of scenario design thus is landscape. What they decide today will have not to identify future events, but rather to major effects on their future consumer emphasize relevant forces that move the relationships, the market structure, and future in different directions. Scenarios technological standards. are narratives of alternative future environments in which today’s decisions Conventional strategic analysis seldom might play out: they are neither predictions manages well in such highly uncertain nor strategies. By making the driving forces environments, whereas scenario design visible, strategic planners can consider them is one approach that can look beyond the and adapt their strategy accordingly. usual planning horizon of three to five years. While predicting the future is clearly impossible, scenario design isolates the risks and opportunities of certain strategic issues. It helps in develop robust strategies that will 05 The future of the TV and video landscape by 2030 Scenario design is an approach that can look beyond the usual planning horizon of three to five years. It helps develop robust strategies that will work in different potential futures. 06 The future of the TV and video landscape by 2030 The underlying drivers – and how we derived them The foundation of our scenarios is a Traditional TV and non-linear content comprehensive set of underlying drivers that potentially shape the future of the TV offerings will coexist. New and existing and video industry. We therefore conducted expert interviews and made use of our players will reposition along the value unique external environment analysis based on Natural Language Processing algorithms. chain in a partly consolidated market. The resulting drivers were then clustered into social, technological, economic, environmental, and political factors (STEEP) and rated with regard to their degree of uncertainty and their impact on the TV and video industry (see Figure 1). 07 The future of the TV and video landscape by 2030 Fig. 2 – Driver evaluation according to degree of impact and degree of uncertainty h Importance g Demand for Market entry i Content Distribution TV Broad- Average of sport/ H Level of exclusive content on-demand of tech / of TV and Importance aggregator advertising caster time in national broadcasting content internet video event of live spending role spent with giants content licensing content Relative importance TV/ video on TV of linear broadcasting in contrast Level of intellectual to non-linear/ on-demand services Number of property regulation Influence Cooperation Ownership of content Role of OTTs of between players sports rights Broadcaster producers Introduction of Content aging revenue streams Net Quality media regulation rights viewership neutrality In-car of digital TV for online/ mobile relevancy infrastructure advertising pure offerings Global measurement media market Regulation Advertising Owner of the consolidation Convergence of of media Producer focus advertising advertising company relationship National ownership Availability markets one of interest Advertising Level of economic of All-IP sales market Capability climate media Requirements approach regulation of data for employees analytics networks Piracy Sensitivity regarding in media Ability of AI to Convenience of data privacy influence Legal technological progress Cybersecurity Digitalization audience Digital restrictions capability of of video/ TV Attractiveness in national general production Polarization of Advertising Demand for of national advertising Diversification public processes advertising payment in-home, large- Mobile video sector of players into sales screen entertainment relevancy for talents in the TV/ video and brand Data Attractiveness market of national Innovative monetization Ability of AI Demand for social Demand video sector capability Size of tools to content/ user-generated for micro- for talents of video supplier Vertical predict content content payments suppliers integration m ecosystems acceptance Impact u f i o d e e National Video/ TV Length and Disruptive Content e M Development Education Transmission/ Length of Placement r content format of changes focus g consumption of cord- on media/ Frequency program/ of advertising e quotas behavior video in release D cutters video use content advertising windows in schools Degree of Device Fiction Dependence Stock TV as Global New interde control focus of TV Fan/ Focus of enabler media/ pendence of local market follower pay-TV categories for social content between productions pressure focus of video interaction regulation devices social media on subsidies Pilot and TV selection Relevance of global audience Cloud Multi- in Channel Demand User Ratio of Level of operations Networks for new multitasking pay-per-use child forms of story- Focus vs. protection telling Corporate of user subscription engagement Price of social payments techno- Integrated responsi- logical online bility devices shopping Application of Demand Degree of Holo- blockchain- Political for personalized graphic based influence augmented/ content TV Tracking on the content Cross- Existence virtual with national trading screen/ of the reality Market entry of built-in- video platforms transmedia European offerings totally new players monitor market sensors Union w o L Low Medium High Degree of Uncertainty Technology Society Environment Politics Economics 08 The future of the TV and video landscape by 2030 In this way we identified the two relevant further approach. The 23 driving forces in questions, “What will the player types of driving forces for our scenarios: the ‘zone of interest’ have subsequently structure look like?” and “Who will been tested by measuring their inter- have access to customers?”, illustrated in • Drivers with a high impact and with a dependencies and relevance to each other, Figure 3. clearly predictable evolution (see the and clustered according to their degree
Load more

Recommended publications
  • Digital Watermarking Based on DCT Transform
    A Survey of Digital Watermarking Technologies Lin Liu [email protected] Abstract: This report introduces the basic concepts in digital watermarking. Common watermarking technologies are reviewed. Some experiment results are provided as well. Index Terms: Digital watermarking, copyright protection 1. INTRODUCTION During the past decade, with the development of information digitalization and internet, digital media increasingly predominate over traditional analog media. However, as one of the concomitant side-effects, it is also becoming easier for some individual or group to copy and transmit digital products without the permission of the owner. The digital watermark is then introduced to solve this problem. Covering many subjects such as signal processing, communication theory and Encryption, the research in digital watermark is to provide copyright protection to digital products, and to prevent and track illegal copying and transmission of them. Watermarking is embedding information, which is able to show the ownership or track copyright intrusion, into the digital image, video or audio. Its purpose determines that the watermark should be indivisible and robust to common processing and attack. Currently the digital watermarking technologies can be divided into two categories by the embedding position——spatial domain and transform domain watermark. Spatial domain techniques developed earlier and is easier to implement, but is limited in robustness, while transform domain techniques, which embed watermark in the host’s transform domain, is more sophisticated and robust. With the development of digital watermarking, spatial techniques, due to their weakness in robustness, are generally abandoned, and frequency algorithm based on DCT or DWT becomes the research focus. Another tendency in watermarking is blind extraction, which means the host is not need when extracting the watermark; otherwise it is hard to avoid the multiple claims of ownerships.
    [Show full text]
  • DIGITAL Media Players Have MEDIA Evolved to Provide PLAYERS a Wide Range of Applications and Uses
    2011-2012 Texas 4-H Study Guide - Additional Resources DigitalDIGITAL media players have MEDIA evolved to provide PLAYERS a wide range of applications and uses. They come in a range of shapes and sizes, use different types of memory, and support a variety of file formats. In addition, digital media players interface differently with computers as well as the user. Consideration of these variables is the key in selecting the best digital media player. In this case, one size does not fit all. This guide is intended to provide you, the consumer, with information that will assist you in making the best choice. Key Terms • Digital Media Player – a portable consumer electronic device that is capable of storing and playing digital media. The data is typically stored on a hard drive, microdrive, or flash memory. • Data – information that may take the form of audio, music, images, video, photos, and other types of computer files that are stored electronically in order to be recalled by a digital media player or computer • Flash Memory – a memory chip that stores data and is solid-state (no moving parts) which makes it much less likely to fail. It is generally very small (postage stamp) making it lightweight and requires very little power. • Hard Drive – a type of data storage consisting of a collection of spinning platters and a roving head that reads data that is magnetically imprinted on the platters. They hold large amounts of data useful in storing large quantities of music, video, audio, photos, files, and other data. • Audio Format – the file format in which music or audio is available for use on the digital media player.
    [Show full text]
  • Digital Media: Rise of On-Demand Content 2 Contents
    Digital Media: Rise of On-demand Content www.deloitte.com/in 2 Contents Foreword 04 Global Trends: Transition to On-Demand Content 05 Digital Media Landscape in India 08 On-demand Ecosystem in India 13 Prevalent On-Demand Content Monetization Models 15 On-Demand Content: Music Streaming 20 On-Demand Content: Video Streaming 28 Conclusion 34 Acknowledgements 35 References 36 3 Foreword Welcome to the Deloitte’s point of view about the rise key industry trends and developments in key sub-sectors. of On-demand Content consumption through digital In some cases, we seek to identify the drivers behind platforms in India. major inflection points and milestones while in others Deloitte’s aim with this point of view is to catalyze our intent is to explain fundamental challenges and discussions around significant developments that may roadblocks that might need due consideration. We also require companies or governments to respond. Deloitte aim to cover the different monetization methods that provides a view on what may happen, what could likely the players are experimenting with in the evolving Indian occur as a consequence, and the likely implications for digital content market in order to come up with the various types of ecosystem players. most optimal operating model. This publication is inspired by the huge opportunity Arguably, the bigger challenge in identification of the Hemant Joshi presented by on-demand content, especially digital future milestones about this evolving industry and audio and video in India. Our objective with this report ecosystem is not about forecasting what technologies is to analyze the key market trends in past, and expected or services will emerge or be enhanced, but in how they developments in the near to long-term future which will be adopted.
    [Show full text]
  • Technology, Media and Telecommunications Review
    Telecommunications Review Telecommunications the Technology, Media and and Media Technology, Technology, Media and Telecommunications Review Eleventh Edition Editor Matthew T Murchison Eleventh Edition lawreviews © 2020 Law Business Research Ltd Technology, Media and Telecommunications Review Eleventh Edition Reproduced with permission from Law Business Research Ltd This article was first published in December 2020 For further information please contact [email protected] Editor Matthew T Murchison lawreviews © 2020 Law Business Research Ltd PUBLISHER Tom Barnes SENIOR BUSINESS DEVELOPMENT MANAGER Nick Barette BUSINESS DEVELOPMENT MANAGER Joel Woods SENIOR ACCOUNT MANAGERS Pere Aspinall, Jack Bagnall ACCOUNT MANAGERS Olivia Budd, Katie Hodgetts, Reece Whelan PRODUCT MARKETING EXECUTIVE Rebecca Mogridge RESEARCH LEAD Kieran Hansen EDITORIAL COORDINATOR Gavin Jordan PRODUCTION AND OPERATIONS DIRECTOR Adam Myers PRODUCTION EDITOR Anna Andreoli SUBEDITOR Martin Roach CHIEF EXECUTIVE OFFICER Nick Brailey Published in the United Kingdom by Law Business Research Ltd, London Meridian House, 34–35 Farringdon Street, London, EC4A 4HL, UK © 2020 Law Business Research Ltd www.TheLawReviews.co.uk No photocopying: copyright licences do not apply. The information provided in this publication is general and may not apply in a specific situation, nor does it necessarily represent the views of authors’ firms or their clients. Legal advice should always be sought before taking any legal action based on the information provided. The publishers
    [Show full text]
  • How Will Technology, Media, and Telecommunications Companies Prepare for Further Disruption Ii at a Glance
    Streaming the future How will technology, media, and telecommunications companies prepare for further disruption ii At a glance Perhaps no other development in recent history Bottom line: It is hard to predict how things will has transformed the business landscape as look just a few years from now. To better envision much as the Internet. In less than two decades, the future, PwC has analyzed the key uncertainties life without the Internet has become almost facing TMT companies and developed a series unimaginable. And yet, recent international court of scenarios for what the playing field might look cases and the policymaking of some governments under different circumstances. These scenarios make the future of the Internet as we now know can help industry participants and investors to it less than certain. navigate the future. A handful of technology, media, and telecommu- We start with a contextual assessment of the forces nications (TMT) companies have come to dominate of change affecting TMT companies (page 2), various aspects of the Internet, including access, then explore two uncertainties that will have search, social networking, on-line shopping, a profound impact on how TMT companies grow the sharing economy, advertising, and content and compete over the coming decade (page 6), creation and distribution. These players were assess the scenarios uncovered by those able to enter the market with unique offerings uncertainties (page 10), and finally, describe the or business models, quickly shaking up industry implications of those scenarios (page 17). after industry. These disruptors appear to have a stronghold in their chosen markets, but ongoing innovation in the Internet space continues to usher in new businesses that could well end up disrupting the disruptors.
    [Show full text]
  • Embedding and Extracting Digital Watermark Based on DCT Algorithm
    Journal of Computer and Communications, 2018, 6, 287-298 http://www.scirp.org/journal/jcc ISSN Online: 2327-5227 ISSN Print: 2327-5219 Embedding and Extracting Digital Watermark Based on DCT Algorithm Haiming Li, Xiaoyun Guo School of Computer Science and Technology, Shanghai University of Electric Power, Shanghai, China How to cite this paper: Li, H.M. and Guo, Abstract X.Y. (2018) Embedding and Extracting Dig- ital Watermark Based on DCT Algorithm. The principle of digital watermark is the method of adding digital watermark Journal of Computer and Communications, in the frequency domain. The digital watermark hides the watermark in digi- 6, 287-298. tal media, such as image, voice, video, etc., so as to realize the functions of https://doi.org/10.4236/jcc.2018.611026 copyright protection, and identity recognition. DCT for Discrete Cosine Received: September 15, 2018 Transform is used to transform the image pixel value and the frequency do- Accepted: November 25, 2018 main coefficient matrix to realize the embedding and extracting of the blind Published: November 28, 2018 watermark in the paper. After success, the image is attacked by white noise Copyright © 2018 by authors and and Gaussian low-pass filtering. The result shows that the watermark signal Scientific Research Publishing Inc. embedded based on the DCT algorithm is relatively robust, and can effective- This work is licensed under the Creative ly resist some attack methods that use signal distortion to destroy the water- Commons Attribution International mark, and has good robustness and imperceptibility. License (CC BY 4.0). http://creativecommons.org/licenses/by/4.0/ Keywords Open Access Digital Watermark, DCT Algorithm, White Noise, Gaussian Low-Pass Filtering, Robustness, Imperceptibility 1.
    [Show full text]
  • Digital Media Technology
    MCC-1011A Digital Media Technology A.A.S. Degree (A25210) Certificate (C25210) Business Technologies The Digital Media program prepares students for entry-level jobs in the digital design and multimedia industry. Students learn to synthesize multimedia, hypertext, computer programming, Job Outlook information architecture, and client/server technologies using both Internet and non-network- According to the U.S. Department of Labor's based media. Occupational Outlook Handbook, “Employment of web developers is Students develop skills in communication, critical thinking, and problem solving as well as interface projected to grow 20 percent from 2012 to design, multimedia formats, application programming, data architecture, and client/server 2022, faster than the average for all technologies. The program develops technical skills through practical applications that employ occupations. Demand will be driven by the current and emerging standards and technologies. growing popularity of mobile devices and Graduates should qualify for employment as web designers, graphic artists/designers, multimedia ecommerce.” specialists, web developers, web content specialists, media specialists, information specialists, Source: Bureau of Labor Statistics, U.S. Department of Labor, digital media specialists, animation specialists, interface designers, and many new jobs yet to be Occupational Outlook Handbook, 2014-15 Edition, Web defined in this expanding field. Developers, on the Internet at http://www.bls.gov/ooh/ computer-and-information-technology/web-developers.htm
    [Show full text]
  • G. Resolution to Establish School of Communication Digital Media
    RESOLUTION TO ESTABLISH THE SCHOOL OF COMMUNICATION AND DIGITAL MEDIA IN THE COLLEGE OF LIBERAL ARTS AND HUMAN SCIENCES WHEREAS, the domain of communication has grown in terms of specialization, expertise, disciplinary areas, and methodologies; and WHEREAS, a School of Communication and Digital Media will enhance the university’s ability to create, convey, and apply knowledge that expands personal growth and understanding of human communication, improves media practice, and broadens media literacy among voters and other media consumers; and WHEREAS, a School of Communication and Digital Media will advance social and community development through ethical news and sports reporting, advertising, corporate communication, and public relations and foster economic competitiveness through industry- related majors in advertising, communication science and social inquiry, digital media production, multimedia journalism, sports media and analytics, professional communication, and public relations; and WHEREAS, a School of Communication and Digital Media will align curriculum resources more efficiently and allow more coordinated and strategic investment of resources within the college and university in communication and digital-media instruction; and WHEREAS, a School of Communication and Digital Media will more closely align the communication programs with national, institutional, and SCHEV peers that have colleges or schools of communication, journalism, or media; and WHEREAS, a School of Communication and Digital Media supports the land-grant
    [Show full text]
  • A Cross- Sectional Study Among Switzerland-Based Occupational
    Does Therapy Always Need Touch? - A cross- sectional study among Switzerland-based occupational therapists and midwives regarding their experience with health care at a distance during the COVID-19 pandemic in Spring 2020 Verena Klamroth ( [email protected] ) ZHAW: Zurcher Hochschule fur Angewandte Wissenschaften https://orcid.org/0000-0002-8944-792X Michael Gemperle ZHAW: Zurcher Hochschule fur Angewandte Wissenschaften Thomas Ballmer ZHAW: Zurcher Hochschule fur Angewandte Wissenschaften Susanne Grylka-Baeschlin ZHAW: Zurcher Hochschule fur Angewandte Wissenschaften Jessica Pehlke-Milde ZHAW: Zurcher Hochschule fur Angewandte Wissenschaften Brigitte Gantschnig ZHAW: Zurcher Hochschule fur Angewandte Wissenschaften Research article Keywords: Tele-health, tele-care, tele-rehabilitation, tele-monitoring health professions, video-telephony, technology acceptance, occupational therapy, midwifery Posted Date: November 6th, 2020 DOI: https://doi.org/10.21203/rs.3.rs-103168/v1 License: This work is licensed under a Creative Commons Attribution 4.0 International License. Read Full License Page 1/19 Abstract Background: The COVID-19 pandemic impedes therapy and care activities. Health care at a distance (HCD) is a promising way to ll the supply gap. However, facilitators and barriers inuence the use and experience of HCD in occupational therapists (OTs) and midwives. We identied use of services and appraisal of experiences of Switzerland-based OTs and midwives regarding the provision of HCD during the lockdown as it pertains to the COVID-19 pandemic in spring 2020. 1. Hypothesis: Profession, age in years, and area of work have a signicant and meaningful inuence over whether HCD is provided. 2. Hypothesis: Profession, age in years, area of work, possibility of reimbursement by health insurance, and application used have a signicant and meaningful inuence on the experience of HCD.
    [Show full text]
  • Singular Value Decomposition and Discrete Cosine Transform Based Image Watermarking
    Master Thesis Computer Science Thesis no: MCS-2008:8 January 23, 2008 Singular Value Decomposition and Discrete Cosine Transform Based Image Watermarking S.M. Rafizul Haque Department of Interaction and System Design School of Engineering Blekinge Institute of Technology Box 520 SE – 372 25 Ronneby Sweden This thesis is submitted to the Department of Interaction and System Design, School of Engineering at Blekinge Institute of Technology in partial fulfillment of the requirements for the degree of Master of Science in Computer Science. The thesis is equivalent to 20 weeks of full time studies. Contact Information: Author: S.M. Rafizul Haque E-mail: [email protected] Advisor(s): Guohua Bai Email: [email protected] Department of Interaction and System Design Department of Internet : www.bth.se/tek Interaction and System Design Phone : +46 457 38 50 00 Blekinge Institute of Technology Fax : + 46 457 102 45 Box 520 SE – 372 25 Ronneby Sweden ii Acknowledgement I would like to express my sincere and heartiest gratitude to my honorable supervisor Dr. Guohua Bai for his continuous help, guidance, constant support and enduring patience throughout the progress of this thesis. I would like to extend my special appreciation and gratitude to my parents and my friends for their encouragement, endless love and understanding of my spending lots of time on this work iii Abstract Rapid evolution of digital technology has improved the ease of access to digital information enabling reliable, faster and efficient storage, transfer and processing of digital data. It also leads to the consequence of making the illegal production and redistribution of digital media easy and undetectable.
    [Show full text]
  • Digital Media | Internet Sector Report
    INTERNET & DIGITAL MEDIA SECTOR REPORT Q3 2019 EXECUTIVE SUMMARY Q3 2019 Internet & Digital Media Wrap-Up » Internet & Digital Media continues to be a highly active category, with ~$34.5Bn in M&A volume (including the $20.9Bn Viacom-CBS merger) and ~$12.9Bn in financing volume during Q3 ’19 - 15 M&A transactions in Q3 ‘19 as varied as: Vista / Acquia (CMS); Prudential / Assurance (Insuretech); Vox / New York Magazine; Hasbro / eONE - 688 financings across all stages -- from seed to LBO – in Q3 ’19 consistent with the similar volume in Q3 ’18 » Financial sponsor-backed M&A and financing activity remains healthy in the category as firms look to deploy capital and back innovators and market leaders, especially leading digital brands - Vista Equity continues its strong pace of investment with its purchase of Acquia, an open digital experience company, in its third billion dollar deal in the last 12 months - Growth equity investment continued in Q3 including Sequoia’s investments in Stripe and Thumbtack and TCG’s investment in Food52 » Q3 public capital markets activity saw 22 VC-backed IPOs, dominated by technology-based D2C companies including Peleton and SmileDirectClub; the number of VC-backed U.S. unicorns remains at a record high » From a trading perspective, Marketplace companies lead the public company pack, trading at 7.1x EV / ’19E Revenue and 21.3x EV/ ’19E EBITDA on average Select Q3 Active Buyers Select Q3 Active Investors TCG Notes: Sources: Capital IQ, PitchBook, PriceWaterhouseCoopers / NVCA MoneyTree Report, Wall Street Research.
    [Show full text]
  • Digital Media | Internet Sector Report
    INTERNET & DIGITAL MEDIA SECTOR REPORT Q4 2019 EXECUTIVE SUMMARY Q4 2019 Internet & Digital Media Wrap-Up » Internet & Digital Media continues to be a highly active category, with ~$24.3Bn in M&A volume and ~$12.7Bn in financing volume during Q4 ’19 - 20 M&A transactions in Q4 ‘19 as varied as: PayPay / Honey (eCommerce); Platinum Equity / Cision (PR Software and Services); Thoma Bravo / Instructure (Learning Management Software) - 706 financings across all stages -- from seed to LBO – in Q4 ’19 consistent with the similar volume in Q4 ’18 » High-profile, billion dollar M&A deals abounded in Q4 2019, with both strategic buyers and financial sponsors driving deal activity, as they look to build out their offerings / remain competitive and deploy capital / back innovators, respectively » At the end of 2019, a record 199 VC-backed private companies are valued at greater than $1BN, compared to just 149 a year ago; these unicorns are comprised heavily of consumer-facing start-ups who raised billions in 2019, such as Airbnb, SoFi, and Juul Labs » Q4 public capital markets activity saw 20 VC-backed technology IPOs, a slight drop from the 22 that occurred in Q3. Overall, technology IPOs experienced an increase in 2019 compared to 2018 » From a trading perspective, Marketplace companies lead the public company pack, trading at 7.0x EV / ’19E Revenue and 20.9x EV/ ’19E EBITDA on average Select Q4 Active Buyers Select Q4 Active Investors Notes: Sources: Capital IQ, PitchBook, PriceWaterhouseCoopers / NVCA MoneyTree Report, Wall Street Research. 2
    [Show full text]