In a World of Endless Choices and Accessibility, Quality Content and User Experiences Are Key

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[1] Dunn Vision OTT Media Kit www.StreamMoreTV.com

In a world of endless choices and accessibility, quality content and user experiences are key. We're passionate about building the best streaming experience for our users and we want you to help us do it! We are seeking content partners that can help us deliver high quality, unique, engaging content to our audiences.

Working with Dunn Vision OTT Service - Information for our Content Partners – [email protected]

[2] Dunn Vision OTT Media Kit www.StreamMoreTV.com

Introduction As of January 2020

Introduction Dunn Vision Telecom is an Internet Service Provider (ISP) based just outside of Toronto Canada founded in 2017. We provide cable and DSL internet access to residences and businesses Canada-wide. In March 2020, we will be capitalizing on the success of our internet access offerings and entering into the OTT marketplace with our own selection of movies, shows and Live TV channels using the following business models: SVoD (Subscription Video on Demand) and AVoD (Ad-based Video on Demand). OTT or ‘over the top’ refers to material that’s distributed directly to viewers over the internet.

In 2007 when the first two major streaming services launched, it created a gold rush. Today, there is no shortage of streaming competition. According to streaming statistics in a recent report from Deloitte, North Americans subscribe to an average of three paid video streaming services per month. It’s hard to overstate what a big deal that number is for newcomers to the marketplace. Just three years ago, nearly half of North Americans subscribed to only one major streaming service. They are now more comfortable than ever building their own streaming bundle.

One of the largest streaming services reported a loss of 130,000 U.S. subscribers in the first quarter of 2019 — the largest decrease it’s faced since 2011. This is as a result of subscribers having more options available to them. Viewers who self-bundle, or create Figure: Share of video streaming service users who also subscribe to other services in the United States as of September 2017 their own content bundles by subscribing to a combination of streaming services are able piece together personalized entertainment experiences through multiple sources. Figure: Share of video streaming serviceSource: users who Recode; also subscribe Second Measure; to other bgr.comservices in the United States as of September 2017

What does this mean for the newcomers like Dunn Vision? Dunn Vision OTT aims to be one of the leading streaming services that offer instant access to a premium library of live and on demand channels, original series and films to our subscribers. Our hope is to partner with content creators who are With this knowledge we are confident that some of the more unique features of our aware of their earning potential working with a streaming platform that offers compensation through advertisement OTT service such as our live TV addon will garner consumer interest while the more revenue share and/or subscription revenue share. familiar features (i.e. on-demand movies and shows) will make us comparable to some of the more established services out there.

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Executive Summary As of January 2020

As of January 2020

WhileExecutive we are a young Summary company, Dunn Vision Telecom has a growing customer base of service he oversees operations, business development and strategy for all aspects of Dunn Vision OTT. more than eight thousand internet subscribers/telecom customers as of January 2020. In 2018 we noticed an increasing demand from our customers for IPTV services. We knew Our Chief Financial Officer Maggie Liu, CPA, CGA has been working in the Payroll/Accounting/Taxation field for over 15 that if we were going to enter the market, we would only offer high quality, completely years. Along with her team, she has managed revenue for small and large enterprises. She is primarily responsible for licensed content on a platform that would be reliable and offer all of the functionality of managing Dunn Vision OTT’s finances, including financial planning, management of financial risks, record-keeping, and some of the top-tier streaming services available. financial reporting.

In 2019 Nikki Dunn, the Co-Founder and Lead Programmer/Technical Lead for our parent Since graduating from Saurashtra University, Gautam Patadiya has been working as part of Dunn Vision OTT’s web and application development team. He is responsible for maintaining our platform which runs on a number of popular company Dunn Vision Telecom, began the development of our OTT platform. Prior to co- streaming-media devices like the Roku, Fire TV, Android and iOS to name just a few. His duties also include building the founding Dunn Vision Telecom, Nikki Dunn studied Digital Media Arts at Seneca College, components required for our client developers to provide new product features and initiatives at scale. where she developed a strong interest in design, implementation and management of digital graphics, animation and content creation for the web, social media, marketing and Just like the best ensemble casts of our favorite shows, each member of our team plays a vital role in helping us to advertising campaigns. For the next 15 years she delivered creative and engaging solutions expand our client footprint to more devices throughout the world. to some of the world's best-known brands including Mopar Canada, Napa Auto Pro, and Fiat Chrysler; creating animations, interactive experiences, websites, mobile applications, and print media for them. Over the years, she created digital assets for over 550 products MANAGEMENT TEAM ranging from industrial lift equipment to clothing and apparel. So, our team knew that our project was in very capable hands. In her dual role as our OTT’s Chief Content Officer, she service he oversees operations, business development and strategy for all aspects of Dunn Vision OTT. is also responsible for the acquisition of all Dunn Vision OTT content including original series from around the world. Our Chief Financial Officer Maggie Liu, CPA, CGA has been working in the Payroll/Accounting/Taxation field for over 15 years. Along with her team, she has managed revenue for small and large enterprises. She is primarily responsible for Prior to co-founding Dunn Vision Telecom, Vincent Dunn worked as a Communications managing Dunn Vision OTT’s finances, including financial planning, management of financial risks, record-keeping, and Field Technician for over 20 years in a broad array of settings to ensure that vital financial reporting. communication equipment operated properly. His duties included installing and Since graduating from Saurashtra University, Gautam Patadiya has been working as part of Dunn Vision OTT’s web and troubleshooting internet products and services in the U.S. for a major telecommunications applicationVINCENT development DUNN team. He NIKKIis responsible DUNN for maintaining ourMAGGIE platform LIU which runs on GAUTAMa number of PATADIYA popular conglomerate. As a Senior Communications Field Technician for Dunn Vision Telecom, his streamingFOUNDER-media & CEO devices like the Roku,CO-FOUNDER Fire TV, Android & and iOSCHIEF to name FINANCIAL just a few . His duties TECHNICALalso include buildingLEAD the duties often include developing training programs, mentoring new Filed Techs and helping components required for our clientCHIEF developers CONTENT to provide new productOFFICER features and initiatives at scale. them to improve both their technical and soft skills. In his dual role as CEO for our OTT OFFICER Just like the best ensemble casts of our favorite shows, each member of our team plays a vital role in helping us to expand our client footprint to more devices throughout the world.

Working with Dunn Vision OTT Service - Information for our Content Partners – [email protected] MANAGEMENT TEAM

Dunn Vision OTT Media Kit www.StreamMoreTV.com [4]

Contents

Contents Introduction ...... 2 Executive Summary ...... 3 Digital Video Advertising: Industry Overview ...... 5 Subscription Video on Demand: Industry Overview ...... 6 Key Dunn Vision OTT Features ...... 8 Income for Content Partners: AVoD Revenue Share & SVoD Revenue Share ...... 9 Dunn Vision AVoD - Digital Video Ad Formats ...... 11 Dunn Vision AVoD Payment Models ...... 14 How We Market Dunn Vision OTT ...... 15 Travelability, subgenre, platform demand share and digital original trends - United States ...... 16 Travelability, subgenre, platform demand share and digital original trends - Australia ...... 19 Travelability, subgenre, platform demand share and digital original trends - Brazil ...... 22 Travelability, subgenre, platform demand share and digital original trends - Canada ...... 25 Travelability, subgenre, platform demand share and digital original trends - France ...... 28 Travelability, subgenre, platform demand share and digital original trends - Germany ...... 31 Travelability, subgenre, platform demand share and digital original trends - Italy ...... 34 Travelability, subgenre, platform demand share and digital original trends - Mexico ...... 37 Travelability, subgenre, platform demand share and digital original trends - Spain ...... 40 Travelability, subgenre, platform demand share and digital original trends - United Kingdom ...... 43 The Type of Content Dunn Vision OTT Licenses ...... 46 Request A Demo ...... 47

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Demand as the New Paradigm Video Is Becoming A Preferred Method

The digital ecosystem has never been more vibrant and exciting. The introduction of internet On desktop, most formats are experiencing flat or small revenue declines. Video is the only format with technologies to the TV market has certainly blurred the lines between linear TV and digital video— meaningful growth, up 6.6% from the prior year. Advertising revenues from digital video totaled $16.3 by introducing more data, addressability, and cross- platform capabilities—but without diminishing billion for FY 2018, up 37% from the prior year. TV’s core value proposition. Whether viewed on a connected TV set at home, on a streaming device at the gym, or on a desktop at work, video remains an advertiser’s most powerful tool to connect with audiences, wherever, whenever, and however they may be watching

Digital revenues for 2018 surpassed $100 billion for the first time. The continued growth in digital video advertising demonstrates the indomitable power of sight, sound and motion to capture attention, drive engagement, and build brands. Year after year, brands have been increasing their commitment to digital as a primary channel to reach consumers. As consumers continue to shift their viewing behavior, advertisers have followed them. Mobile advertising is helping drive growth, surpassing desktop advertising revenues for the first time. The latest industry data demonstrates record-high digital ad revenues, continued robust double-digit compound annual growth, and a dramatic shift from desktop dominance to the seemingly inevitable march of mobile revenue prominence. Internet advertising revenues in the United States totaled $107.5 billion for the full year (“FY”) of 2018, with Q4 2018 accounting for approximately $31.4 billion and Q3 2018 accounting for approximately $26.6 billion. Revenues for FY 2018 increased 21.8% over FY 2017. Quarter over quarter digital revenues increase 18.1% for Q4 2018 Advertising revenues delivered on mobile *Banner includes: Advertising Format Revenue, Full Year Result devices totaled $69.9 billion in FY 2018, a 39.7% increase from the prior FY 2017 revenues of $50.1 billion. Ad Banners/Display, Rich Media, and Sponsorship. Advertising delivered on a mobile device now makes up 65.1% of total internet advertising revenues. ** Other includes: Classifieds, Lead Generation, Audio, and Unspecified. Note: Totals may not equal 100% due to rounding. - Source: IAB/PwC Internet Ad Revenue Report, FY 2018

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Subscription Video on Demand: Industry Overview

Key Findings

• Subscription video on-demand (SVOD) services are gaining in popularity having increased 17 percent

over 2018 to 70 percent of online viewers now subscribing to multiple SVOD service.

• Cord-cutting accelerated in the U.S. with pay-TV subscription rates falling 18 percent, faster than the global average Price remains the primary reason consumers would cancel their cable or satellite television subscriptions.

• Viewers are accepting of advertising in online video as long as the content is free, especially if it’s a

short pre-roll add, or ads can be skipped.

• Online video continues to grow in popularity at the expense of traditional broadcast viewing. On average viewers spend six hours, 48 minutes per week watching various types of online video, a 59 percent increase since 2016. At the same time, television viewing fell ten percent to seven hours in 2019.

Figure: Total hours of video content watched online each week (by country) – limelight.com • Smartphones are now the primary device chosen globally to watch online video, followed by computers, smart TVs and connected devices, and tablets.

• Movies are the most popular online video content, followed by TV shows, news, sports, professionally produced video content on social media sites, user generated content, and online gaming videos.

• Binge watching is on the rise. In 2019 there was an average increase of 18 percent globally, with viewers now binge-watching shows for an average of two hours, forty minutes at a time 30 percent watch for three hours or more hours at a time.

Figure: Total hours of video content watched online each week (by age) – limelight.com

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Subscription Video on Demand: Industry Overview

Where the Industry Is Headed and Where Dunn Vision OTT Fits In

Television has long been a staple of entertainment, but as more people cut the cord and move to a digital viewing experience, how and when people watch TV, plus the actual content itself, has changed drastically. Instead of gathering the entire family around the TV to watch a show, today’s consumers can watch whatever they want, whenever they want. But even those capabilities could change with the future of television.

Four years ago, Apple CEO Tim Cook said the future of TV is apps. However, the years following showed little growth in TV apps and staggering growth in streaming services. It’s

safe to say that the future of TV isn’t apps, but streaming.

There are now 250 million households worldwide who pay for streaming video services such as Netflix and Amazon Video, reports Strategy Analytics, and that figure is expected to grow to 300 million by the end of this year and to more than 450 million by 2022.

Streaming video service penetration varies quite dramatically across countries. In its analysis of 25 markets Strategy Analytics found the US on top with 59% penetration, with Canada (51%) the only other country where a majority of households paid for streaming video services as of December 2017.

On the other end of the spectrum, several countries have less than 10% penetration, including Spain (9%), Italy (8%), Russia (5%) and India (3%).

different companies to have access to all of the top shows. To avoid having to battle for the rights to popular shows, many Streaming services have revolutionized how we watch TV and consume content. Much of the streaming services are now creating their own content and have turned into full-fledged production studios. This allows success of streaming is due to the convenience and pricing. When compared to the price of them to hedge against other studios jacking up prices or withholding content altogether. Last year, 85% of the top cable, customers can get instant access to shows and movies at a fraction of the price. streaming services spending went towards original programming.

On-demand viewing also makes niche content more accessible and provides something for Dunn Vision OTT will follow suit by partnering with independent Filmmakers and production companies that are creating everyone. Instead of waiting a week between episodes, we now watch shows more like how niche content and providing representation for often overlooked people and stories. We want Content Partners who are we read books: by bingeing uninterrupted. aware of their earning potential working with a streaming platform that allows them to monetize their content through advertisement revenue share and/or subscription revenue share. With a growing number of streaming services, customers often have to subscribe to many

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Key Dunn Vision OTT Features

Balancing Distinctive & Familiar Features The Familiar What Sets Us Apart

Monetization for Content Owners

We capture the w Encrypted Video largest audiencebeh

Live TV 54 Countries + VOD

Relevant Content Recommendations

SCREENS

FEATURES Mobile Friendly

Personal Playlists

Social Sharing

Supports 9 Major Languages

Geo-Blocking Home Screen Live Channel Library

We are confident that some of the more unique features of our OTT service such as our live TV addon A Visually Appealing Library 1,000+ Live TV Channels will garner consumer interest while the more of on-Demand Movies & Shows from Around the World familiar features will make us comparable to some of the more established services out there. Working with Dunn Vision OTT Service - Information for our Content Partners – [email protected]

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Income for Content Partners: AVoD Revenue Share & SVoD Revenue Share

How Our Content Partners Earn Revenue What Are Content Points? The amount available for sharing with the Content Partners is 50%

To make the revenue share calculation fair, we assign each movie or x $4.00 = $2.00. Dunn Vision OTT aims to be one of the leading streaming services show genre with a certain number of points based on the global that offer instant access to a premium library of live and on popularity of the genre. The highest points are awarded to the genres Now imagine that the content they viewed is worth 20 points in demand channels, original series and films to our subscribers that gross the highest at the Box office worldwide. Data was gathered total and 3 of those points are for content they viewed that was using multiple business models. from Investopedia and Parrot Analytics global TV demand dataset, created by one Content Partner. The Content Partner’s content

which is comprised of 3.5 trillion data points across 100+ languages in makes up 3 points out of the total 20 points used, so they earn 3/20 Through our AVoD (Ad-based Video on Demand) business 100+ countries. x $2.00 = $0.30 from that one subscriber for the month. model, the content will be free to consumers. However, much

like broadcast television, consumers need to sit through Example 2: Multiple subscribers Genre Points Genre Points advertisements. • Reality TV 6 • Action/Adventure 10 Now let’s expand that example to say 4 subscribers, each with their • Sports 6 Once a Content Partner’s short or long form content is added to • Romance 10 own usage patterns: • Zombie Film 5 our library, they will automatically start earning revenue based • Drama 10 • Shorts 5 on the number of views and interactions. • Documentaries 9 • • LGBTQ 5 Subscriber A is the person in the first example • Investigative 9 • Teen Drama 4 • Subscriber B is a heavier user overall and uses 3 points worth of Videos are served with in-stream advertisements—ads that • Horror Films 9 • B movies 4 your content appear before, during, or after videos as well as out-stream • Thriller 9 • Biographical 4 • Subscriber C *only* watched your content and none from advertisements which take place outside of in-stream video • Crime Films 8 • Cult Films 4 anyone else. content. Video monetization allows Content Partners to earn • Sci-Fi 8 • Vampire 3 • Subscriber D didn’t actually use any of your content at all 90% of the revenue these advertisements generate when served • Fantasy 8 • Telenovela 3 The amount you would earn from each subscriber in this example is on their videos. The more views their content gets, the more • Anime 7 • Westerns 3 shown below. revenue they earn—so they are encouraged to share their • Superhero 7 • Film Noir 3 • Children/Family 7 videos. % of • War 3 Total Partner Partner • Animations 6 Subscriber Net Share Total • Amateur 1 Points Points Earnings Through our SVoD (Subscription Video on Demand) business • Comedies 6 Points model, we offer our Content Partners a subscriber revenue • Sitcoms 6 A $4.00 $2.00 20 3 15% $0.30 share. With subscriber revenue share, Content Partners earnings B $4.00 $2.00 40 3 7.5% $0.15 are directly linked to the money collected from each individual Example 1: A single subscriber subscriber. We look at each subscriber in turn and assign you a C $4.00 $2.00 5 5 100% $2.00 share of 50% of their net revenue based on how important your For example, let’s say there was only one subscriber and they generate D $4.00 $2.00 30 0 0% $0 items were to them. revenue (excluding transactional taxes) of $4.00 for the month. TOTAL $2.45

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Income for Content Partners: AVoD Revenue Share & SVoD Revenue

Payout Schedule Payout methods details

The prepaid debit MasterCard® (powered by Payoneer) will be mailed to To get paid, we will require banking or Paypal account PayPal is a secure way to send money online. Content Partners will Content Partners and credited with their payments from Dunn Vision OTT. information. Earned revenue will automatically be transferred need to set up an account in order to get paid via PayPal. After receiving the card, they will be able to use it just like a regular debit to the Content Partner’s PayPal account or bank account every card. month when their balance exceeds $100. Also, they will receive • Accept payments on any device and in any country

monthly reports to help them keep track of their revenue and • Receive funds within 2 days • Withdraw funds in local currency view payment history. • Transfer easily to any bank account in a few days • Make purchases wherever MasterCard® is accepted • Receive a maximum of $5,000 USD per month in revenue payments Step 1 - Revenue consolidation • Access to cash within 2 hours of receiving a payment • PayPal fees may apply • Latest Chip and PIN technology for enhanced security Process: The revenues are consolidated up to 60 days after the • Available for individuals only (not for businesses) end of the current month. Bank transfer (powered by Payoneer) lets recipients quickly, easily and safely receive money directly to their bank account. • ATM fees may apply Step 2 - Invoice creation • Revenue is transferred directly to a local bank account

Requirements: Reach $100 when your revenues will be • Payment is in local currency consolidated • Funds are available within 1–3 business days

Process: If the requirements have been reached, we will start • Safe, secure, and backed by industry-leading security standards the invoice creation. This invoice will be created up to 15 days • Available for individuals and businesses after the consolidation. Once the invoice is created, Content Partners will be forwarded a copy.

Step 3 - Payout

Process: Once the invoice has been created, Dunn Vision will start the payout process through its different partners (Payoneer or Paypal, depending on the information filled on your account). The payout will be sent 30 days after the last day of the invoice creation month.

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Dunn Vision AVoD - Digital Video Ad Formats

Dunn Vision OTT ad servers offer two different formats for digital video ads: linear and nonlinear. Either format may include a “companion” ad that displays outside the player.

Linear video ads are ads that are sandwiched between segments of streaming video content much like a TV commercial. They can play before (pre-roll), during (mid-roll), or after (post-roll) the streaming content. Linear ad formats can be accompanied by a companion ad or they can include an interactive component such as branded components of the video player (i.e. logos within the control bar, progress bar, etc.)

Non-linear video ads are typically served as images that “overlay” the video content. The ad runs concurrently with the streaming content so the user sees the ad while also viewing the content without interruption. Ideally, the non-linear video ad is small enough to allow a relatively unobstructed view of the content. Non- linear video ads can be delivered as text, static images, interactive rich media, or as video overlays. As with linear ads, nonlinear ads can be served with companion ads.

There are two primary types of ad units: in-stream & out-stream.

In-stream video ads are played before (pre-roll), during (mid-roll), or after (post-roll) the streaming video content that the consumer has requested. In-stream video ads are displayed within the context of streaming video, frequently used to monetize the video content that the publisher is delivering, and can be played inside short-form or long-form video. Users typically cannot stop in-stream ads from being played, particularly with pre-roll.

Out-stream video ads is video advertising that takes place outside of in-stream video content. The key difference between in-stream and out-stream video ads is that out-stream video ads are not the primary focus of the page and are typically not rendered in a prominent video player. The visitor did not visit the page with the intent to view a video nor did they actively initiate the experience. Companion ads are served along with linear or nonlinear ads in the form of text, static image display ads, rich media, or skins that wrap around the video experience. These ads come in a number of sizes and shapes and typically run alongside (or surrounding) the video player. The primary purpose of the companion ad is to offer sustained visibility of the sponsor throughout the streaming video experience. Digital video companion ads are always served with a master ad, which is either the linear or nonlinear

ad.

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Dunn Vision AVoD - Digital Video Ad Formats

The out-stream definition includes: Frequency & Sequencing In-banner video is a video clip within a web banner that leverages the banner space to deliver a video Simply put, Frequency is the average number of times a user sees our ads. It is found by dividing impressions, experience as opposed to another static or rich media format. which is the overall number of times our ad was displayed, by reach, which is the number of unique people In-article video ads load dynamically between paragraphs of editorial content when a user scrolls through who have seen our ad. Frequency and sequencing will also depend on the campaign’s target audience, the page, playing video when the ad unit is in view. budget constraints and the campaign’s media mix modelling. The effective frequency is the number of times a person must be exposed to an advertising message before a response is made and before additional Native videos are promoted videos within one of the six IAB native core ads (i.e. in-feed unit, paid search exposure is considered wasteful. unit, recommendation widget, promoted listing, in-ad with native elements, or custom). Native videos include a headline, description, and context for the ad. We recognize that if there are highly similar creatives across a campaign, multiple exposures of the same In-feed videos are native video ads found in content, social, or product feeds, often paired with a headline, imagery/copy (high frequency) this could be an issue for our audience. When there are larger variations between description, and logo. creatives, the high frequency could be less of a problem. Using a hypothetical example to illustrate, let’s say we have 10 ads about basketball. In a campaign with high creative variation, each ad might be about a different Interstitial video are ads that appear between two content pages. Also known as transition ads, inter- basketball team. Therefore, people who see multiple ads from the campaign might be less annoyed by each, since commercial ads, and splash pages. Other terms such as in-page, mobile pre-roll, and incentivized videos the ads are about different topics, likely featuring a different team logo or visual layout, etc. appear in the context of mobile interstitials or ads that have 100% share of voice/screen.

In addition to the steps outlined above, there are creative decisions required to achieve a campaign’s desired In order to maintain a high-quality viewing experience for our subscribers, in most cases we will limit result. These include (beyond the duration of the campaign itself) the duration of the advertisement, advertisements to a maximum of 3 unique advertisements during our long and short form content (films and frequency and sequencing, as well as the campaign’s interactive elements. shows); one pre-roll, mid-roll and post-roll ad.

Duration Interactive Elements

The duration of the ad will depend on the target audience, and the device on which it will be shown. Most Interactive elements that may be used in our video ads will allow for interactivity with the user. There are video ads are 11 to 20 seconds long and several studies (including the IAB Multiscreen Video Best Practices various forms of interactivity: a campaign may be set to have personalized assets—if the user’s locale is New report) indicate ten-second videos for instance can help maximize impact among millennials. York, it will present the user with relevant financing options for New York as opposed to Los Angeles. Social icons may also be utilized to make video sharable, and an “add to calendar” feature may be used for movie In order to maintain a high-quality viewing experience for our subscribers, in most cases we will limit release. advertisements to a maximum of 30 seconds during our long and short form content (films and shows); one pre-roll, mid-roll and post-roll.

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Dunn Vision AVoD: How Our Ad Servers Work

How the Ads Are Selected they are fairly compensated for licensing their content to us which is why we take the following Our ad servers deliver targeted advertising that measures to limit ad blocking: can be tailored to a consumer’s declared or • Delivering ads that are relevant and add value to the predicted characteristics or preferences. Some user to discourage skipping ads. other functions of our ad servers include: • Incorporating native ads. One advantage of native • Tracking/counting impressions ads over traditional digital formats is that native ads • Filtering for GIVT (general invalid traffic) tend not to get caught by ad blocking software due • Choosing the appropriate ad for each to the way they are served to users (from within the content site itself as opposed to a third- party ad server). • Reporting, verification, and auditing • Giving users control of their browsing experiences • Creative rotation, frequency capping by with options to skip ads after a period of time which and sequencing still allows our Content Partners to earn as many ad dollars as possible for the time the ad is viewed. • Targeting • Denying access to content is an immediate and obvious • Optimization way to highlight the value exchange enabled by

advertising. Most simply, once ad blocking is detected, the How We Handle Ad Blocking page denies access to the content that the user has requested. Detection and the access denial may occur on Although ad blocking is not completely new to a splash page at session start, in line with the requested video, technology has granted more power and content, or as an interstitial after ad blocking has been control to audiences to enable ad blocking. Ad detected across a certain number of pages. Blocking is a type of software that can remove or • alter advertising content from a webpage, Once ad blocking is detected, the delivery of a recurring website, or a mobile app. Dunn Vision OTT wants notice may be used to induce site visitors to disable ad to ensure our Content Partners are able to earn blocking. as much ad revenue as possible and that

Figure: Ad server user session related metrics and event tracking. (Source: Comcast – Watchables Team)

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Dunn Vision AVoD: Payment Models

The most common video pricing models used by Dunn Vision OTT advertisers include:

CPM: Cost per thousand impressions, calculated as CPM = Total Cost / Total Impressions x 1000. For example, a website that charges $1,500 per ad and reports 100,000 impressions has a CPM of $15.

CPCV: Cost per completed view. Pricing model in which the advertiser pays for every time a video ad runs through to completion, calculated as CPCV = Total Cost / Completed Views. Rather than paying for all views, some of which may have been stopped before completion, an advertiser only pays for ads that finished playing.

CPV: Cost per view. Pricing model in which the advertiser pays for every time a video ad starts (each start is counted as a view), calculated as CPV = Total Cost / Total Views.

VCPM: Viewable cost per thousand. Pricing model in which the advertiser pays based on the cost of 1,000 viewable impressions, calculated as VCPM = Total Cost / Total Viewable Impressions x 1000. A viewable impression refers to an opportunity to view an ad for more than two seconds.

VCPV: Viewable cost per view. Pricing model in which costs, views, and viewability are all taken into account to determine what the advertiser pays. Calculated as VCPV = VCPM/ CPV where “view” usually means a completed view.

Time-Based Pricing: CPH (cost per hour) and CPS (cost per second) are pricing models in Figure: Adding metadata to an Individual Video Asset which the advertiser is guaranteed a minimum exposure time for their viewable impressions and then charged based on how much time 1000 impressions create. Read more about how the Financial Times implemented this measurement. Using Google content-aware targeting, our ad servers are able to distribute ads based on the metadata (a set of data that describes and gives information about other data) of the video content being played. CPE/CPI: Cost per engagement/cost per interaction. Pricing model in which the advertiser pays This allows us to accurately track which of our Content Partners the ad dollars belong to while also for every time a user actively engages—or interacts—with an ad. For example, when a user allowing Google Ads to analyze and determine the central theme of the content in order to provide hovers over a lightbox ad to expand it, that’s an engagement/interaction. targeted ads to viewers.

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How We Market Dunn Vision OTT

Existing Internet/Telecom Customers 5,000+ Pre-registered Subscribers

Digital Video Ads Email Marketing List We capture the w 10,000+ Email Marketing Contacts largest audiencebeh

8,000+ Existing Telecom Customers Social Paid Search Ads Media Ads 250+ Advertisements Served

50,000+ Advertisement impressions A PREMIUM LIBRARY OF Referral Affiliate LIVE & ON-DEMAND CONTENT Program Marketing 12,000+ Ad Interactions

Native Ads Available on Major Streaming Devices

Across platforms In all languages In all markets

Capitalizing on the success of Campaign Expanding our footprint to more our other offerings Impressions & Reach devices around the globe

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United States Learn where in the world content produced in this market is most wanted and which subgenres resonate the most with Americans.

NOTE: The insights presented in this section are based on the entire available Parrot Analytics global TV demand dataset, which is comprised of 3.5 trillion data points across 100+ languages in 100+ countries.

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Most in-demand US subgenres compared to global trends

4% Sitcom

Sci-ﬁ Drama 3% UK 47% Fantasy Drama

2% Procedural Drama

USA 100% Crime Drama 1% share demand Global Superhero Series 0% Comedy Drama

Children’s (school age) -1% Japanese Animation

Diﬀerence from from Diﬀerence Animated Sitcom Average global -2%

travelability of

United States -3%

• Content travelability reveals where in the world local productions find an audience overseas, • These are the ten subgenres with the highest demand share from US audiences for all TV relative to the content’s country of origin. titles, including OTT, cable and broadcast titles. The largest demand share is for sitcoms, • Content from the USA travels best to other Anglosphere markets like Canada and the UK. For which accounts for 8.6% of all expressed demand in this market, 0.2% less than the global example, in Canada the average American title has 53% of the demand the same average title would average. have in the USA. • Compared to the global averages, US viewers prefer sci-fi dramas and anime; the demand share in this • US content also travels better than content from most other markets, with a high global market for both of these subgenres is 3.9% higher than the global average. travelability of 19.6%, the second highest percentage out of all 10 markets in this report. • Although still the second largest subgenre, crime dramas actually have 2.4% less demand share in the US than they do globally

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The top 20 most in-demand digital original series:

SeriesSeries Name Name Genre Average Aver Daily Demand Expressions (DEx) in 2018 1 Chilling Adventures Of Sabrina Horror 31,906,065 2 Titans Action/Adventure 30,052,995 3 Stranger Things Sci-Fi 27,613,781 4 Star Trek: Discovery Sci-Fi 23,665,187 5 Orange Is The New Black Comedy Drama 21,269,989 6 13 Reasons Why Drama 20,632,174 7 The Haunting Of Hill House Horror 19,468,249 8 The Handmaid's Tale Drama 19,058,892 9 Marvel's Daredevil Action/Adventure 18,851,500 10 Voltron: Legendary Defender Children 14,709,509 11 Narcos Drama 14,525,116 12 Black Mirror Sci-Fi 13,936,251 13 Money Heist (La Casa De Papel) Drama 13,110,962 14 Cobra Kai Comedy 12,780,951 15 Sense8 Drama 11,746,084 16 Marvel's Jessica Jones Action/Adventure 11,462,859 16 17 Ozark Drama 11,449,809 18 House Of Cards Drama 10,552,612 19 BoJack Horseman Comedy 10,499,897 20 Queer Eye Reality 10,140,532

A selection of 5 additional digital original series of interest: 21 Story Of Of Yanxi Yanxi Palace Palace (延禧攻略 (延禧攻略) ) iQiyiDrama iQiyi Drama10,008,749 10,008,749 24 The Man In The High Castle Sci-Fi 9,739,937 2828 The FirstFirst HuluScience Fiction Hulu Science9,258,536 Fiction 9,258,536 30 The Marvelous Mrs. Maisel Comedy 9,012,347 3434 Marvel’s Runaways Runaways HuluAction/Adventure Hulu Action/Adventure8,779,374 8,779,374 * Distributor for most recent season in case of multiple platform

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Travelability, subgenre, platform demand share and digital original trends

Australia Learn where in the world content produced in this market is most wanted and which subgenres resonate the most with Australians.

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The global travelability of content produced in Australia

4% Sitcom

Sci-ﬁ Drama 3% UK 36% Fantasy Drama 2% Procedural Drama

USA 47% Crime Drama Japan 21% 1% Superhero Series

Global demand share demand Global 0% Comedy Drama

Children’s (school age) -1% Thriller

Animated Sitcom Average global -2%

travelability of from Diﬀerence

Australian -3%

• Content from Australia travels best to the United States and the United Kingdom, as well as its • The largest demand share is for sitcoms, which accounts for 9.3% of all expressed neighbour New Zealand. demand in this market, 0.5% more than the global average.

• Surprisingly, content from Australia travels better to China than English-speaking Canada. • Australian audiences generally mirror global preferences: None of the subgenres with the

highest demand share in this market are more than 0.8% different from the global average. • Australian content has the lowest global travelability of the English-speaking markets in this report with 9.8%. However, this is still almost twice as good as the average of the other markets in this report. • Although superhero titles represent the fourth most in-demand subgenre, the subgenre’s demand share in Australia is 0.8% less than the worldwide average.

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The top 20 most in-demand digital original series:

Series Name Genre Average Daily Demand Expressions (DEx) in 2018 1 Chilling Adventures Of Sabrina Horror 1,315,293 2 Stranger Things Sci-Fi 1,159,317 3 Titans Action/Adventure 1,038,498 4 The Handmaid's Tale Drama 1,035,397 5 Orange Is The New Black Comedy Drama 947,934 6 Star Trek: Discovery Sci-Fi 785,302 7 13 Reasons Why Drama 780,127 8 The Haunting Of Hill House Horror 717,351 9 The Grand Tour Reality 695,404 10 Marvel's Daredevil Action/Adventure 631,103 11 Black Mirror Sci-Fi 584,440 12 Altered Carbon Sci-Fi 489,390 13 Ozark Drama 488,933 14 Voltron: Legendary Defender Children 479,385 15 Cobra Kai Comedy 453,909 16 The Crown Drama 452,594 17 Narcos Drama 439,942 18 Queer Eye Reality 436,303 19 House Of Cards Drama 430,834 20 Arrested Development Comedy 426,161

A selection of 5 additional digital original series of interest: 22 Marvel's Runaways Action and Adventure 408,729 23 The Good Fight Drama 405,425 31 Carpool Karaoke Reality 340,854 35 Bosch Drama 283,009 65 Tidelands Drama 173,000 * Distributor for most recent season in case of multiple platforms.

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Travelability, subgenre, platform demand share and digital original trends

Brazil Learn where in the world content produced in this market is most wanted and which subgenres resonate the most with Brazilians.

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4% Sitcom

Sci-ﬁ Drama Russia 3% 3% Fantasy Drama

2% Procedural Drama

USA 15% Crime Drama 1%

share demand Global Superhero Series

0% Comedy Drama

Children’s (school age) Ecuador 3% -1% Japanese Animation

Teen Drama Average global from Diﬀerence -2%

travelability of Brazilian -3%

• Content from Brazil generally does not reach audiences in other markets as well as content produced in other • The largest demand share is for crime drama, which accounts for 7.9% of all expressed demand in markets. this market, 0.8% less than the global average.

• Brazilian content has a global travelability of 2.4%, the lowest of the 10 markets in this report. • While crime dramas and sitcoms command the largest genre share, as in other markets, they have a lower demand share in Brazil than the global average. • Portugal is currently the best international market for Brazilian titles. • Teen drama does very well in Brazil, it is one of the 10 largest subgenres and has 1.4% more demand share in this market than the worldwide average.

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The top 20 most in-demand digital original series:

Series Name Genre Average Daily Demand Expressions (DEx) in 2018 1 La Casa De Papel (Money Heist) Drama 17,528,268 2 Stranger Things Sci-Fi 11,071,019 3 Galinha Pintadinha Children 11,011,176 4 Chilling Adventures Of Sabrina Horror 9,795,503 5 Titans Action/Adventure 9,342,402 6 The Handmaid's Tale Drama 8,621,339 7 13 Reasons Why Drama 8,185,855 8 Orange Is The New Black Comedy Drama 7,633,249 9 Sense8 Sci-Fi 5,958,784 10 The Haunting Of Hill House Horror 5,826,953 11 Black Mirror Sci-Fi 5,486,431 12 O Mecanismo (The Mechanism) Drama 5,066,178 13 Cobra Kai Comedy 4,946,715 14 The Last Kingdom Drama 4,738,443 15 Narcos Drama 4,178,917 16 Marvel's Runaways Action and Adventure 3,685,895 17 Marvel's Daredevil Action/Adventure 3,668,619 18 Marvel's Jessica Jones Action/Adventure 3,643,672 19 The Man In The High Castle Sci-Fi 3,601,865 20 Marvel's The Punisher Action/Adventure 3,349,719

A selection of 5 additional digital original series of interest: 22 The End of the F...ing World Drama 3,255,444 34 3% Drama 2,448,398 35 Trollhunters Children 2,439,543 44 Tom Clancy's Jack Ryan Drama 2,010,853 51 Tell Me A Story Drama 1,789,273 * Distributor for most recentseason in case of multiple platforms -- No platform information available, please refer to appendix

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Canada Learn where in the world content produced in this market is most wanted and which subgenres resonate the most with Canadians.

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The global travelability of content produced in Canada

4% Sitcom

Russia 60% Sci-ﬁ Drama 3% UK 62% Fantasy Drama 2% Procedural Drama

USA 113% Crime Drama 1% share demand Global Superhero Series 0% Comedy Drama

Children’s (school age) -1% Competition Reality

Diﬀerence from from Diﬀerence Animated Sitcom Average global -2%

travelability of Canadian -3%

• Unusually, Canadian content is not most in-demand in Canada; the USA actually has 13% higher Europe and Oceania. demand for Canadian titles than Canada itself. The largest demand share is for sitcoms, which accounts for 9.3% of all expressed demand in this market, • Canadian content travels exceptionally well. The global travelability is 29.9%, over 10% more than the content 0.5% more than the global average. travelability of American content, and the highest travelability we have observed out of all 10 markets in this • Crime dramas, superhero and fantasy titles are all high-demand subgenres, but have a lower demand share report. in Canada than the global average. • The top markets for Canadian content are located in four continents: North America, LATAM, • Competition reality titles are more in demand in Canada than in most markets.

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The top 20 most in-demand digital original series:

Series Name Genre Average Daily Demand Expressions (DEx) in 2018 1 Star Trek: Discovery Sci-Fi 2,076,650 2 Chilling Adventures Of Sabrina Horror 2,056,122 3 Stranger Things Sci-Fi 1,879,837 4 Titans Action/Adventure 1,816,191 5 The Handmaid's Tale Drama 1,557,374 6 Orange Is The New Black Comedy Drama 1,449,481 7 The Haunting Of Hill House Horror 1,413,760 8 13 Reasons Why Drama 1,222,143 9 Marvel's Daredevil Action/Adventure 1,174,076 10 Black Mirror Sci-Fi 1,077,379 11 Narcos Drama 946,556 12 Ozark Drama 889,830 13 Trailer Park Boys Comedy 874,566 14 The Grand Tour Reality 811,656 15 Voltron: Legendary Defender Children 797,604 16 Marvel's Jessica Jones Action/Adventure 758,902 17 The Man In The HighCastle Sci-Fi 755,931 18 Castle Rock Horror 745,185 19 Altered Carbon Sci-Fi 699,212 20 House Of Cards Drama 679,106

A selection of 5 additional digital original series of interest: 22 Cobra Kai Comedy 673,811 25 Marvel's Runaways Action/Adventure 623,084 36 Travelers Drama 489,523 42 Frontier Drama 442,055 59 Anne with an E Drama 328,361 * Distributor for most recent season in case of multiple platforms

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Travelability, subgenre, platform demand share and digital original trends

France Learn where in the world content produced in this market is most wanted and which subgenres resonate the most with people in France.

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The global travelability of content produced in France

4% Sitcom

Sci-ﬁ Drama Russia 17% 3% Fantasy Drama

2% Procedural Drama

USA 20% Crime Drama 1% share demand Global Superhero Series

0% Comedy Drama

Historical Drama -1% Japanese Animation

Diﬀerence from from Diﬀerence Thriller Average global -2%

travelability of French -3%

• French content travels best to other European markets and North America. • The largest demand share is for crime drama, which accounts for 10.9% of all expressed • Belgium is the best international market for content from France, the average French title will attain demand in this market, 2.2% more than the global average. 30% of French demand there. • Compared to the global averages, French audiences prefer crime dramas and sci-fi dramas. • The global travelability for France-produced content is 5.6%, approximately in the middle of the 10 • Although they still have a high demand share, sitcoms have comparatively smaller demand

countries in this report, with Canada being the highest (29.9%) and Brazil being the lowest (2.4%). share in France than the global average.

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The top 20 most in-demand digital original series:

Series Name Genre Average Daily Demand Expressions (DEx) in 2018 1 La Casa De Papel (Money Heist) Drama 4,668,611 2 Stranger Things Sci-Fi 4,442,776 3 Orange Is The New Black Comedy Drama 3,796,024 4 Black Mirror Sci-Fi 3,591,400 5 13 Reasons Why Drama 3,377,646 6 Narcos Drama 3,217,693 7 Sense8 Sci-Fi 2,841,966 8 The Handmaid's Tale Drama 2,713,953 9 The Haunting Of Hill House Horror 2,622,480 10 Titans Action/Adventure 2,278,138 11 Marvel's Daredevil Action/Adventure 2,048,543 12 Star Trek: Discovery Sci-Fi 1,866,274 13 The Last Kingdom Drama 1,846,209 14 The Crown Drama 1,693,513 15 Marvel's Jessica Jones Action/Adventure 1,597,124 16 Marvel's Luke Cage Action/Adventure 1,569,011 17 Chilling Adventures Of Sabrina Horror 1,553,910 18 Altered Carbon Sci-Fi 1,491,068 19 House Of Cards Drama 1,408,539 20 The Man In The High Castle Sci-Fi 1,357,414

A selection of 5 additional digital original series of interest: 26 Stargate Origins Sci-fi 1,232,922 28 Diablero Drama 1,172,211 30 Marseille Drama 1,139,769 38 The Looming Tower Drama 852,762 56 Safe Drama 585,168 * Distributor for most recentseason in case of multiple platforms -- No platform information available, please refer to appendix

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Travelability, subgenre, platform demand share and digital original trends

Germany Learn where in the world content produced in this market is most wanted and which subgenres resonate the most with Germans.

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4% Sitcom

Sci-ﬁ Drama Russia 11% 3% Germany 100% Fantasy Drama France 8% Spain 11% 2% Procedural Drama

USA 13% Crime Drama 1% share demand Global Superhero Series 0% Comedy Drama

Children’s (school age) -1% Competition Reality

Diﬀerence from from Diﬀerence Teen Drama Average global -2%

travelability of -3% German

• As might be expected, content from Germany performs best in the DACH countries of Germany, Austria • The largest demand share is for crime drama which is 0.60% more than the global average. and Switzerland. (Incidentally, crime dramas also account for 9.3% of all demand in this market, the most • Content from Germany travels better to the USA (13%) than to France (8%). expressed for any subgenre in Germany.) • Globally, German content has 5.6% travelability, equal to French content and approximately in the middle • Germans are more enthusiastic about crime dramas and competition reality titles than the of the 10 countries in this report, with Canada being highest (29.9%) and Brazil being lowest (2.4%). worldwide average. • Superhero series have a 1.3% lower demand share than the global average in this market.

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The top 20 most in-demand digital original series:

Series Name Genre Average Daily Demand Expressions (DEx) in 2018 1 Star Trek: Discovery Sci-Fi 3,905,620 2 Stranger Things Sci-Fi 3,403,890 3 Chilling Adventures Of Sabrina Horror 3,297,054 4 Orange Is The New Black Comedy Drama 2,748,398 5 13 Reasons Why Drama 2,554,096 6 Titans Action/Adventure 2,097,284 7 Black Mirror Sci-Fi 2,085,175 8 La Casa De Papel (Money Heist) Drama 2,084,048 9 Narcos Drama 2,054,443 10 Marvel's Daredevil Action/Adventure 1,764,754 11 Dogs Of Berlin Drama 1,742,452 12 The Handmaid's Tale Drama 1,629,408 13 House Of Cards Drama 1,603,760 14 The Haunting Of Hill House Horror 1,526,373 15 Marvel's Luke Cage Action/Adventure 1,418,242 16 The Man In The High Castle Sci-Fi 1,367,682 17 Sense8 Sci-Fi 1,359,053 18 The Grand Tour Reality 1,352,173 19 Marvel's Jessica Jones Action/Adventure 1,305,254 20 Altered Carbon Sci-Fi 1,272,678

A selection of 5 additional digital original series of interest: 21 Dark Drama 1,272,404 22 Hakan: Muhafiz (The Protector) Action/Adventure 1,076,884 24 The Good Fight Drama 1,028,597 32 Bosch Drama 812,442 60 You are Wanted Drama 572,579 * Distributor for most recent season in case of multiple platforms

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Travelability, subgenre, platform demand share and digital original trends

Italy Learn where in the world content produced in this market is most wanted and which subgenres resonate the most with Italians.

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4% Sitcom

Sci-ﬁ Drama Russia 9% 3% Fantasy Drama

2% Procedural Drama

USA 8% Crime Drama 1% share demand Global Superhero Series 0% Comedy Drama

Children’s (school age) -1% Japanese Animation

Diﬀerence from from Diﬀerence Teen Drama Average global -2%

-3%

• Content from Italy performs best in Switzerland, where it has 10% travelability. highest demand share within Italy, the Italian demand share of crime dramas is also 3.14% • Apart from the USA, all of the best countries for Italian content are in Europe. larger than the global average. • The global travelability of Italian produced content is 3.4%. This is lower than most of the • Sitcoms are the second largest subgenre, but the Italian demand share for this subgenre is territories profiled in this report. lower than the worldwide average (1.8%). • The third most popular subgenre in Italy is sci-fi drama, over-indexing by 1.1% compared to the • Crime dramas are a huge subgenre in Italy: Not only does this subgenre have the global average.

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The top 20 most in-demand digital original series:

Series Name Genre Average Daily Demand Expressions (DEx) in 2018 1 Stranger Things Sci-Fi 3,020,239 2 Narcos Drama 3,017,352 3 Black Mirror Sci-Fi 2,915,363 4 13 Reasons Why Drama 2,592,334 5 Orange Is The New Black Comedy Drama 2,571,171 6 La Casa De Papel (Money Heist) Drama 2,459,732 7 Chilling Adventures Of Sabrina Horror 2,353,939 8 Baby Drama 2,301,630 9 The Handmaid's Tale Drama 2,022,360 10 Sense8 Sci-Fi 1,933,198 11 The Haunting Of Hill House Horror 1,914,902 12 Marvel's Daredevil Action/Adventure 1,665,663 13 Star Trek: Discovery Sci-Fi 1,613,029 14 Titans Action/Adventure 1,593,883 15 BoJack Horseman Comedy 1,547,667 16 Marvel's Jessica Jones Action/Adventure 1,486,218 17 Suburra Drama 1,479,645 18 The Man In The High Castle Sci-Fi 1,401,264 19 House Of Cards Drama 1,317,097 20 Hakan: Muhafiz (The Protector) Action/Adventure 1,307,453

A selection of 5 additional digital original series of interest: 23 The Grand Tour Reality 1,076,150 26 The First Sci-Fi 910,766 27 SKAM Italia Drama 901,378 41 You Drama 624,814 43 Marco Polo Drama 612,015 * Distributor for most recent season in case of multiple platforms

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Travelability, subgenre, platform demand share and digital original trends

Mexico Learn where in the world content produced in this market is most wanted and which subgenres resonate the most with Mexicans.

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The global travelability of content produced in Mexico

4% Sitcom

Sci-ﬁ Drama 3% Fantasy Drama

2% Telenovela

USA 32% Crime Drama 1%

share demand Global Superhero Series

0% Comedy Drama

Children’s (school age)

-1% Japanese Animation

Diﬀerence from from Diﬀerence Animated Sitcom Average global -2%

-3%

• The international market where Mexican content performs best is the USA: Demand for the average • The largest demand share in Mexico is for crime drama, which accounts for 7.5% of all expressed Mexican title in the USA is 32% of Mexican demand. demand in this market, 1.3% less than the global average. • Mexican content also travels well to Spain and Latin American countries such as Ecuador, Venezuela and • Like in other markets, the two largest subgenres in Mexico are crime dramas and sitcoms, Peru. however, both of these have a lower demand share in Mexico than the global average. • Globally, Mexican content has 4.8% travelability; this is approximately in the middle of the 10 countries in • School age children’s shows and telenovelas have a higher demand share in Mexico than they do this report, with Canada being highest (29.9%) and Brazil being lowest (2.4%). worldwide; the demand share for these subgenres in this market is 2.9% and 2.1% more than the worldwide average, respectively.

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The top 20 most in-demand digital original series:

Series Name Genre Average Daily Demand Expressions (DEx) in 2018 1 Stranger Things Sci-Fi 6,301,817 2 Chilling Adventures Of Sabrina Horror 5,011,887 3 La Casa De Papel (Money Heist) Drama 4,930,702 4 Titans Action/Adventure 4,068,909 5 13 Reasons Why Drama 3,671,005 6 Luis Miguel, La Serie Drama 3,498,038 7 Black Mirror Sci-Fi 2,838,494 8 Orange Is The New Black Comedy Drama 2,833,209 9 Club De Cuervos Comedy 2,813,632 10 Cobra Kai Comedy 2,798,155 11 The Haunting Of Hill House Horror 2,760,418 12 Narcos Drama 2,554,644 13 Sense8 Sci-Fi 2,397,169 14 The Handmaid's Tale Drama 2,196,423 15 The House of Flowers (La Casa De Las Flores) Comedy 2,064,381 16 Marvel's Daredevil Action/Adventure 1,863,544 17 BoJack Horseman Comedy 1,741,863 18 Dark Drama 1,690,867 19 Cable Girls (Las Chicas Del Cable) Drama 1,641,718 20 Altered Carbon Sci-Fi 1,541,485

A selection of 5 additional digital original series of interest: 25 Made In Mexico Reality 1,297,052 29 Nosotros Los Guapos Comedy 1,194,718 33 Ingobernable Drama 1,059,792 36 Mozart In The Jungle Comedy 908,714 43 40 Y 20 Comedy 729,768 * Distributor for most recent season in case of multiple platforms

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Travelability, subgenre, platform demand share and digital original trends

Spain Learn where in the world content produced in this market is most wanted and which subgenres resonate the most with Spaniards.

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The global travelability of content produced in Spain

4% Sitcom

Sci-ﬁ Drama 3% Fantasy Drama 2% Procedural Drama

USA 15% Spain 100% Crime Drama 1%

share demand Global Superhero Series

Comedy Drama 0%

Children’s (school age) -1% Thriller

Diﬀerence from from Diﬀerence Historical Drama Average global -2%

-3%

• Unlike many other European content producers, the best markets for content produced in Spain are mainly • The largest demand share in Spain is for crime drama, which accounts for 13.7% of all expressed outside of Europe. demand in this market, 5.0% more than the global average. • Spanish content performs well in Latin American markets like Argentina and Mexico. • This is in fact the biggest difference from the global average out of all subgenres across all 10 • The global travelability of content from Spain is 5.4%. Once again, this is approximately in the middle of the markets in this report. 10 countries in this report, with Canada being highest (29.9%) and Brazil being lowest (2.4%). • Thrillers are also more in-demand in Spain than they are globally: This subgenre is the fourth largest subgenre in Spain, registering 2.4% more demand share in this market than worldwide.

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The top 20 most in-demand digital original series:

Series Name Genre Average Daily Demand Expressions (DEx) in 2018 1 La Casa De Papel (Money Heist) Drama 3,728,556 2 Stranger Things Sci-Fi 3,519,682 3 Narcos Drama 2,213,823 4 Cable Girls (Las Chicas Del Cable) Drama 2,203,550 5 Black Mirror Sci-Fi 1,993,109 6 Sense8 Sci-Fi 1,632,319 7 Orange Is The New Black Comedy Drama 1,581,299 8 The Haunting Of Hill House Horror 1,559,904 9 13 Reasons Why Drama 1,521,766 10 The Handmaid's Tale Drama 1,509,413 11 La Peste Drama 1,284,095 12 Virtual Hero Animation 1,207,628 13 Velvet Colección (Velvet Collection) Comedy 1,201,903 14 The Last Kingdom Drama 1,181,698 15 Marvel's Daredevil Action/Adventure 1,146,338 16 Chilling Adventures Of Sabrina Horror 1,107,327 17 Titans Action/Adventure 1,095,351 18 Mindhunter Drama 1,064,151 19 The Good Fight Drama 1,062,397 20 Marvel's The Defenders Action/Adventure 1,055,888

A selection of 5 additional digital original series of interest: 21 Paquita Salas Comedy 1,050,665 23 Élite Drama 985,444 30 Érase Una Vez Drama 931,806 31 El Día Después Drama 911,316 32 Mira Lo Que Has Hecho Comedy 907,235 * Distributor for most recent season in case of multiple platforms

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Travelability, subgenre, platform demand share and digital original trends

United Kingdom Learn where in the world content produced in this market is most wanted and which subgenres resonate the most with the British.

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Most in-demand UK subgenres compared to global trends

4% Sitcom

Russia 43% Sci-ﬁ Drama UK 100% 3%

Fantasy Drama

2% Procedural Drama

USA 73% Crime Drama

1% Global demand share demand Global share demand Global Superhero Series 0% Comedy Drama

Children’s (school age) -1% Thriller

Difference from from Difference from Difference

Animated Sitcom Average global -2%

travelability of United Kingdom -3%

• British content travels well to the United States, registering a travelability of 73%. Only Canadian content is • The largest demand share is for sitcoms, which accounts for 9.10% of all expressed demand in more successful than this out of all 10 markets in this report (113%). this market, 0.3% more than the global average. • Other high-performing markets for UK content include Australia, the Netherlands and Russia. • The two next most in-demand subgenres in the UK both also have a larger demand share than • With a high global travelability of 18.6%, UK content travels well to international markets. This level of the global average, crime drama is over-represented by 0.3% and sci-fi drama by 0.5%. travelability is higher than most markets, yet Canada (29.9%) still has higher travelability than the UK. • The UK is the closest market in this report to the global averages, with the largest difference

being fantasy drama, which has 0.53% less demand share.

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The top 20 most in-demand digital original series:

Series Name Genre Average Daily Demand Expressions (DEx) in 2018 1 Chilling Adventures Of Sabrina Horror 4,154,986 2 Stranger Things Sci-Fi 3,669,742 Daily Demand Expressions (DEx) in 2018 3 Titans Action/Adventure 3,591,021 4 Star Trek: Discovery Sci-Fi 3,103,923 5 The Haunting Of Hill House Horror 2,997,657 6 The Handmaid's Tale Drama 2,944,195 7 Orange Is The New Black Comedy Drama 2,838,109 8 The Grand Tour Reality 2,596,074 9 Marvel's Daredevil Action/Adventure 2,510,372 10 Black Mirror Sci-Fi 2,310,453 11 13 Reasons Why Drama 2,273,348 12 Narcos Drama 1,887,292 13 The Crown Drama 1,760,272 14 Marvel's Jessica Jones Action/Adventure 1,543,355 15 Ozark Drama 1,391,949 16 The Man In The HighCastle Sci-Fi 1,380,239 17 The First Sci-Fi 1,372,265 18 Altered Carbon Sci-Fi 1,364,191 19 Cobra Kai Comedy 1,322,655 20 Marvel's Runaways Action and Adventure 1,322,349

A selection of 5 additional digital original series of interest: 22 Queer Eye Reality 1,275,693 28 BoJack Horseman Comedy 1,079,525 42 Homecoming Drama 820,034 50 All Or Nothing: Manchester City Documentary 660,478 71 Snatch Drama 517,407 * Distributor for most recent season in case of multiple platforms

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Even though Dunn Vision OTT licenses Box Office hits and popular If you would like to become a Content Partner with Dunn series, we are looking for independent Filmmakers and production Vision OTT, please contact us in one of the following companies that are creating niche content and providing ways: representation for often overlooked people and stories. The following is a list of the genres we are most interested in licensing: Nikki Dunn Chief Content Officer • Shorts • Children/Family Dunn Vision OTT • Sports Films • Fantasy 300-1315 Pickering Parkway • B movies • Thriller Pickering, ON Canada • LGBTQ Films • Drama L1V 7G5 • Amateur Films • Investigative Phone: 1800-828-9497 • Biographical films • Anime Email: [email protected] • Cult Films • Telenovela Dunn Vision OTT accepts unsolicited short and long form • Crime Films • Reality TV content which we process as time permits. If you already • Experimental Films • Teen Dramas have a licensed literary agent, attorney, manager, you • Documentaries • Sitcoms may have them contact us on your behalf. • Mockumentaries • Westerns

• Comedies • Vampire Films

• Sci-Fi • Zombie Films

• Superhero • Horror Films

• War Films • Film Noir • Animations • Action Films •

Working with Dunn Vision OTT Service - Information for our Content Partners – [email protected]

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