Having recently attended the Silicon Valley Virtual Reality conference as well as the AR/VR conference and the Neurogaming conference, I can attest that AR and VR are hot.
No one has resolved satisfactorily yet the dizzy/nauseousness problem, especially for women, interestingly enough, according to one report.
The emerging platforms, Oculus Rift, Sony, Samsung, all have improved features and a more comfortable form factor. However beyond the almost arcade-like fun of the running and shooter games, I am not yet sure as to who the audience is for headsets and wearing them outside vid gamers. Clearly Sony with its significant installed base of Playstations, reported 300 games in development, and its own proprietary headset, believes it has the edge. Of course, Samsung is no slouch with its eye-gear and its arrangement with Google and the Android operating system. Naturally Facebook, with its purchase of Oculus Rift and its large user base, believes that the key to successful AR/VR implementation lies in social interactivity and game playing.
Transmedia Market Projections
Movies, Home Video, OTT [Over-the-Top] Streaming, Video Games, Mobile Apps, Music, Television/Internet Advertising Transmedia is the Future of Media
Transmedia, sometimes referred to as the Second Screen, encompasses all aspects of the Entertainment Media universe, including movies, television, the web, mobile, and most importantly, cross-platform advertising. As the data below will indicate, media content and advertising revenues on all screens are on the upswing. It should be noted that in the US, 80% of all people who watch television are also on another screen.
All entertainment and media projects must be evaluated for their transmedia potentials from the beginning of development. For distributors, producers, and investors, taking into account all potential revenues sources from all media platforms is absolutely essential. Cross-platform advertising for transmedia projects, i.e. movies, video games, television, web and mobile entertainment properties, is here now and, as the numbers below indicate, is the wave of the future. And social media is a key element of this evaluation.
All media will be Transmedia, all media will be available on all screens 24/7, globally.
Just as all stories can and will be told on all media, cross collateralization of media investments will recoup from all screens. This is the bright future of media content in the emerging global market place.
All aspects of the entertainment industry, are rapidly gearing up to take advantage of the exploding opportunities provided by the convergence of all media platforms and the opportunities for discovery, matching, and sharing that the new social media provide.
We are just at the beginning of the new generation of media and storytelling.
See the chart below for the latest aggregate numbers representing the Transmedia revenue stream projections through 2018. Source: SMPTE conference, Cisco BDG, Stanford University, June 2014.
Globally, filmed entertainment revenue will rise at a CAGR of 4.5% from US$88.3 Billion in 2013 to US$110.1 Billion in 2018, passing US$100 Billion in 2017
Globally, the total combined revenue from over-the-top (OTT)/streaming services and broadcasters' video on demand (VOD) services will grow at a CAGR of 19.9% to overtake physical home video revenue (the sale and rental of DVDs and Blu-ray discs) in 2018
OTT/streaming services will deliver the fastest rates of growth. OTT/streaming will see the fastest rates of growth (28.1% CAGR), rising from US$6.6 Billion globally in 2013 to US$22.7 Billion by 2018
Global subscription TV revenues will grow at a CAGR of 3.5% over the next five years to US$236 Billion in 2018. *Note: China approaching US$20 Billion subscription revenues by 2018.
VIDEO GAMES AND MOBILE
Total video game market, including Video game console hardware and software, online, mobile and PC games, totals $101 Billion in 2014 and projected for $111 Billion in 2015
Over the next five years, the Mobile Video Games industry is projected to grow at an average annual rate of 3.0% to $47.4 Billion
Total Mobile App Store Downloads: 91% are Free downloads, however in-app purchases projected to deliver up to 48% revenue by 2017
Global smartphone connections approach 3.5 Billion in 2018
MUSIC AND RADIO
Total consumer spending on music in 2012 was $49.9 Billion, a slight fall from 2011
Annual Global Music revenue will start to grow again in 2013, reaching $53.8 Billion in 2017
U.S. music market rise to $19.8 Billion by 2016
Global total digital recorded music revenue US$10.18 Billion in 2014
Global total physical recorded music revenue US$10.17 Billion in 2014
Global digital music downloading revenue reaching US$7.1 Billion in 2018
Live Music is project to reach $30.9 Billion in revenues by 2017
Total radio revenue reported as US$44.5 Billion in 2013, projected to reach US$50.7 Billion by 2018
Broadcast advertising will increase to $802 Million in 2016
Satellite radio advertising will also rise to $116 Million in 2016
Satellite radio subscription spending will also rise to $4.1 Billion in 2016
Internet advertising will become the largest entertainment and media advertising segment. In 2013, total Internet advertising revenue was US$117.2 Billion. Estimate: US$194.5 Billion in 2018, up from total revenue share of US$58.7 Billion in 2009.
Sources for the above data include Billboard, PwC, Gartner, Digital Music News
Sources for the above data include
Billboard, PwC, Gartner, Digital Music News
This research into indexing emotion in relation to sharing will produce the most relevant day for understanding sharing on the web . BUT don't we know slot about emotional impact of human interaction already ? Of course we do , how does the web enhance or modify this behavior,. More importantly how do we internalize the imagined other and how does this effect our sharing , what we share, with whom , when, and how.
At adtech I met with and briefly interviewed the founder of Emotient , a San Diego based company founded by neuroscientists incorporating Ekmans work. They claim to offer a model which says they can interpret emotion from facial expression and they've got an algorithm which proves it. Sounds like this group of neuroscientists disagrees and has data to back it up. context is essential to understanding meaning.
GRAY MATTER What Faces Can’t Tell Us
OLIMPIA ZAGNOLI By LISA FELDMAN BARRETT February 28, 2014 CAN you detect someone’s emotional state just by looking at his face?
It sure seems like it. In everyday life, you can often “read” what someone is feeling with the quickest of glances. Hundreds of scientific studies support the idea that the face is a kind of emotional beacon, clearly and universally signaling the full array of human sentiments, from fear and anger to joy and surprise.
Increasingly, companies like Apple and government agencies like the Transportation Security Administration are banking on this transparency, developing software to identify consumers’ moods or training programs to gauge the intent of airline passengers. The same assumption is at work in the field of mental health, where illnesses like autism and schizophrenia are often treated in part by training patients to distinguish emotions by facial expression.
But this assumption is wrong. Several recent and forthcoming research papers from the Interdisciplinary Affective Science Laboratory, which I direct, suggest that human facial expressions, viewed on their own, are not universally understood. http://mobile.nytimes.com/2014/03/02/opinion/sunday/what-faces-cant-tell-us.html?referrer=
Hi Folks Latest example of value of content and need for storytelling . Means that the 24/7 vod market will continue to grow and advertisers will pay. Everything is TV now.
Microsoft, Yahoo see future in television
Dina Bass, Cliff Edwards and Claire Suddath Apr 7, 2014 03:54 PM Microsoft Corp. is going Hollywood with a cast including comedians Sarah Silverman and Seth Green, aspiring World Cup players and eerily human robots.
All are involved in shows that Microsoft's new Xbox television studio plans to roll out starting in June. Led by former CBS Corp. executive Nancy Tellem, whom Microsoft hired 19 months ago to build a TV powerhouse from the ground up, the studio now has six series lined up - including a science-fiction thriller called "Humans" about humanoid robot workers - and more than a dozen projects in development.
But the software leader will face competition from an Internet giant - Yahoo.
The Sunnyvale company is currently shopping around for four original television series that it will start airing later this year, the Wall Street Journal reported. That step comes just five months after Katie Couric's move to the website and is part of the company's broader push into original video, which has even included reports of overtures to YouTube's top producers.
Television is unfamiliar ground for Microsoft, which has zero experience in original TV programming and is wading into a crowded field where Netflix of Los Gatos and Amazon.com have generated hits such as "House of Cards." Yet Microsoft is betting on the new studio to produce shows that will attract consumers to its Xbox game console, lure subscribers to its Xbox Live online service and eventually anchor a consumer home entertainment network that will tie the company's devices together.
"TV, as the highest-reach form of entertainment you can find, is a critical part" of wooing consumers to Microsoft, said Phil Spencer, who was recently named head of the Xbox business.
The moves by Yahoo and Microsoft are just part of a larger erosion of the traditional TV audience.
The shrinking started in 2011 when Nielsen reported that the number of U.S. homes with television sets dropped for the first time in 20 years. As a result, the number of people who watched traditional TV programming, via broadcast or cable, started to decline as well. So far the decline has been slight but in a few years will probably pick up speed.
Last year, 86 percent of Americans had cable - down from 88 percent three years before. The premium cable channels have been hit the hardest: 32 percent of people subscribed to HBO, Showtime or Starz last year, down from 38 percent in 2012, according to NPD group. Meanwhile, the number of Netflix subscribers rose 24 percent, to 31.1 million people.
Yahoo's shows will theoretically be ad-supported and available to people for free online, aligning it more closely with YouTube than, say, Netflix's subscription-driven strategy. Also, Yahoo is looking for 10-episode comedy series with a per-episode cost that's less than "a few million dollars," as the Journal put it - or about the price of a regular network sitcom. That's a deft move on Yahoo's part: Audiences already have plenty of novelistic dramas, but what they can't get online (as original content, anyway) is a new half-hour comedy.
Microsoft is pushing ahead with the original shows even as new Chief Executive Officer Satya Nadella has yet to fully articulate his plans for the company's consumer business. The company last month added an activist investor from ValueAct Holdings to its board who wants the company to shift its focus away from expensive consumer initiatives. The two top executives who began the programming effort - former Xbox chief Don Mattrick and CEO Steve Ballmer - are also gone.
Microsoft remains committed to the effort, Spencer said. Still, success for the Xbox television studio may be elusive as companies fight for consumers' attention. Netflix released its first original show in 2012 and has now approved more than two dozen, while Amazon recently announced a $99 box for watching Web-delivered shows called Fire TV. Sony Corp.'s entertainment studio has said it will produce an original series, a drama called "Powers," for the PlayStation Network.
"This is not an easy business," said Tellem, who oversaw network entertainment at CBS between 1998 and 2009 when shows such as "CSI" and "Survivor" became hits. "There's a huge failure rate. You have to get up to the plate a lot. Hopefully, we can have a higher batting average than most, but it's a long process."
One way Tellem, who was also part of the team that debuted "Friends" and "ER," plans to distinguish Microsoft is by adding interactive aspects to each show to make use of Xbox technology. Her first offerings are a street soccer reality show called "Every Street United" timed for the World Cup, as well as robot thriller "Humans" based on a Swedish series.
For "Every Street United," users can unlock extra scenes and will have mini-games that can be played in each scene. "Humans" will offer ways to follow what happens to characters outside the show's plot.
Unlike the critically lauded titles Netflix chooses by number-crunching its subscribers' favorite actors and genres, Tellem said Microsoft's marching orders are to focus on its gamer audience, typically males between 18 to 34 years old.
"We aren't trying to find something that's going to be accepted by the largest common denominator, which is what a lot of people in the business look for," she said. "We're focused on what we feel our audience on our platform wants."
The company is taking the unusual step of only approving shows that can be combined with the interactive components to encourage users to engage across consoles, phones and tablets.
Dina Bass, Cliff Edwards and Claire Suddath are Bloomberg writers. E-mail: firstname.lastname@example.org, email@example.com, firstname.lastname@example.org