The digital entertainment sector is one of the key drivers behind the overall digital economy and consumers are demonstrating an enormous appetite for services such as social media, video streaming, music and gaming. This report explores the global digital entertainment sector and includes trends and statistics. The report discusses the impact of digital services on the traditional media as well as identifying key trends for the future such as cloud technology and wearable devices. Service delivery models continue to revolve around triple and quad play and this report includes case studies on some of the key multi-play markets around the world.
Researchers:- Kylie Wansink, Paul Budde, Peter Evans, Henry Lancaster.
Current publication date:- April 2016 (9th Edition)
The global digital media entertainment market continues to go from strength to strength in 2016. In particular the global streaming revolution is gathering pace. Streaming is closing in on broadcast TV and the Internet now rivals broadcast TV as a vehicle to deliver consumer content. The entertainment industry generally is flourishing on the back of improved mobile and broadband infrastructure and consumers today have an enormous appetite for gaming, social media, video streaming and music.
The success of social networking remains undiminished and the evolution of social media as a marketing and purchasing tool continues. Accessing social media via mobile devices has become the norm in the developed markets and mobile social networking companies are now hoping to capitalise on the developing markets where mobile devices have the potential to be a much larger market than fixed based internet services. Mobile video communication in the developed markets is also a key area for potential growth via services such as FaceTime.
Facebook continues to dominate social media platforms.
Music was one of the key drivers behind the early developments in digital media and the music market was revolutionised when Apple’s iTunes Music Store was launched in 2003. With faster speeds, music streaming is now rising in popularity in both the fixed and mobile networks. The industry is finally seeing an acceptance of licensed music services and by the end of 2015 there were around 68 million subscribers to music services worldwide. In 2016 the digital music sector continues to have strong growth as it expands into new international markets and the number of licensed digital music services increases.
While the concept of Smart TVs presents a lot of possibilities – in reality many consumers feel that Smart TV has so far failed to deliver. Criticisms include that lack of user-friendly interfaces and frustration that applications are not updated as quickly as those on mobile devices. Despite this sentiment; some countries around the world are adopting smart TVs faster than others with uptake being driven by the streaming capabilities offered by Smart TV along with increasing demand for HD 4K.
Pay TV appears to have flat-lined, mostly in countries where cable has achieved 90% household penetration. There is increasing evidence of cord-cutting – consumers are turning off their TV and opting for over-the-top internet services. As a result, services such as the US video streaming service-provider Netflix are thriving. Netflix is currently expanding outside of its domestic market and in early 2016 it had over 75 million subscribers worldwide. In 2015 Hollywood’s revenues saw video streaming overtake revenue from DVDs for the first time.
Looking ahead, BuddeComm sees the continuing adoption of cloud technology in the digital entertainment sector along with the increasing implementation of wearable technology. Mobile gaming still has considerable growth opportunities, especially as mobile broadband infrastructure continues to improve. This will also assist the ongoing progress of mobile TV/video. The developing markets still offer enormous prospects for digital entertainment with changes to business models and content perhaps required in order to capitalise upon this potential.
Table of Contents
Number of pages 104
Last updated 27 Apr 2016
Lead Analyst: Kylie Wansink
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