Paul Thomen

Monday, 1 April 2013

Social and Digital Entertainment Market and Forecast Analysis 2013 – 2018


The digital entertainment market is experiencing growing pains within the era of the multiscreen (TV, phone, tablet, PC, and more) environment.  The ecosystem is expected to experience massive disruption with the evolution of social networking and the convergent usage of the so-called “Second Screen” devices including smartphones, tablet, phablet, netbook, laptop and other devices.  Mind Commerce anticipates localization and other personalization methods on Second Screen applications and services as well as innovative OTT business models.

This research analyzes the digital entertainment ecosystem and the profound impact of social networking including evaluation of the multiscreen role in business strategy.  The report analyzes the market approach of ecosystem players with case study analysis.  The report provides revenue forecasting analysis globally as well as regional and by country.  The report also provides quantitative analysis of user engagement and interaction.

Target Audience:

- Social networking companies
- Media companies and portals
- Advertising agencies and brands
- Consumer electronics companies
- Gaming and gamification companies
- Content Delivery Network (CDN) companies
- Network operators and service providers of all types
- Personalization, identity, and preference control companies

Companies in Report:

Facebook, Twitter, Tumblr, Google, Adobe, Akamai, Alcatel Lucent, Best Buy, Sky Broadcasting, British Telecom, Cisco, Fox Entertainment, Fujitsu, HP, Huawei, IBM, Intel, LG, Liberty, Microsoft, Motorola, NBC Universal, Netflix, Neustar, Panasonic, Paramount Pictures, Samsung, Sony, VeriSign, Warner Bros Entertainment, Walt Disney, Time Warner, Apple, Amazon, Verizon, AT&T, Accenture, Pinterest, NOKIA, Hollywood UltraViolet, Spotify, Rdio, Rhapsody, MOG, 6Waves, BBC,, Box, NetSuite, Salesforce, Xbox, Nintendo, HMV, Pokemon, McDonald, NTT DoCoMo, KDDI, NBA China, We7, Deezer, Vodafone, O2 Germany, HTC, DECE LLC, Arxan Technologies, BluFocus, CableLabs, castLabs, Catch Media, Cineplex Entertainment, Comcast, Cox Communications, CSG Systems, Deluxe Digital, Dolby, DTS (sound system), Elemental Technologies, Empathy Lab, Fanhattan, FilmFlex, Irdeto, Kaleidescape, Lionsgate, LOVEFiLM, Marvell, MOD Systems, Nagravision, NDS, Ooyala, PacketVideo, Royal Philips Electronics, QuickPlay Media, RIAA, Red Bee Media, Rovi Corporation, Saffron Digital, SeaChange International, Sonic Solutions, Switch Communications, Technicolor, Tesco, Testronic Labs, Toshiba, Verance, Verimatrix, Widevine Technologies, Zoran, Top Gear, Jelli, DreamWorks, Proctor & Gamble, Random House, TaylorMade, Jive, LIFO Interactive, Transmension, UUCun (China), Yu-Gi-Oh, Nippon Rental Cars, Japan Airlines, Miaozhen Systems, IFPI, Zavvi, Woolworths, Borders, , Musicload, AOL, Musik, Saturn, Media Markt, ECO, Mondia Media

Selected Findings: 

- Video is the most consuming & revenue generating segments
- North America is the top revenue contributor among regions and USA among countries
- Most user interaction and engagement including social will occur on Second Screen Space
- Social and digital entertainment users is predicted to reach 2.4 billion by 2018 with 7.9% CAGR
- Digital entertainment revenue including social driven is expected to grow 10.06% CAGR reaching US$ 850 billion by 2018

Table of Content

1.0 Social Networking & Digital Entertainment 6
2.0 Digital Entertainment Ecosystem Analysis In Social Era 7
3.0 Digital Entertainment Revenue & Forecast 2013 - 2018 8
3.1 Global Digital Entertainment Revenue Forecast 8
3.2 Social Driven Entertainment Revenue Vs. Global Digital Entertainment Revenue 8
3.3 Digital Entertainment Platform Contribution In Digital Advertising Services Revenue 9
3.4 Revenue Breakdown: Music Vs. Gaming Vs. Movies Vs. Video Vs. User Generated Content 9
3.5 Revenue Breakdown By 5 Screen Content Delivery Platform 10
3.6 Regional Breakdown: Americas Vs. EMEA Vs. APAC 10
3.7 Breakdown By Country: Top 10 Countries 11
3.8 Mobile Broadband As A Component Of Global Digital Entertainment Revenue 12
4.0 Digital Entertainment User Prediction 2013 - 2018 13
4.1 Global Unique Digital Entertainment Users 13
4.2 Social User In The Digital Entertainment Ecosystem 13
4.3 Global Unique Users: Music Vs. Gaming Vs. Movies Vs. Video Vs. User Generated Content 14
4.4 Global Unique User Breakdown In 5 Screen Consuming Platforms 14
4.5 Regional Unique User Breakdown: Americas Vs. Emea Vs. Apac 15
4.6 Country Wise Unique User: Top 10 Countries 16
4.7 Mobile Broadband User Among Global Digital Entertainment Users 17
5.0 Social & Digital Entertainment User Behavior Analysis 18
5.1 Social Entertainment Behavior & Key Findings 18
5.1.1 Interaction On Personal Computer 18
5.1.2 Interaction On Smartphones 19
5.1.3 Tablets Interaction 19
5.1.4 Console Interaction 19
5.1.5 TV Interaction 20
5.2 User Preference Over Second Screen Delivery Platform 20
5.2.1 Aggregated Time Spent Of Users On Activities While Sequentially Screening Devices 20
5.2.2 Breakdown Of The Aggregate Time Spent Sequentially On Smartohone, Pc & Tablet 21
5.2.3 Breakdown Of The Aggregate Time Spent Sequentially On Tablet, Smartohone, & Pc 21
5.2.4 Average Minutes Spent Vs. Interaction Breakdown By Users Over 5 Screen Platform 22
5.2.5 Platform Wise Interaction Location Preference 22
5.3 Social Engagement & Business Opportunities 22
5.3.1 Social Response/Engagement Rate By Pc Vs. Smartphone Vs. Tv Vs. Tablet Vs. Console 22
5.3.2 Lead Generation Percentage By 5 Screen Platform Vs. Average 23
5.3.3 Analysis Of Lead Generation And Location Preference 23
6.0 Digital Entertainment Content Ecosystem And Industry Initiatives 25
6.1 Hollywood Ultraviolet Cloud Case 26
7.0 Mobile Network Operators (MNOS) In Digital Entertainment Market 27
7.1 Market Considerations For MNOS 27
7.2 Industry Challenges For MNOS 28
7.3 Vendor Led Solution: Accenture Digital Entertainment Solution (DES) Case 28
7.3.1 Creating Distinctive Media Experience 29
7.3.2 Des Architecture: Supply Chain, Content Management & Digital Distribution 29
7.4 Connected Home Segment: Integrated Entertainment And Gamification 30
8.0 Consumer Electronics Company In Digital Entertainment 32
8.1 Nokia Music+ Strategy 32
8.2 Sony's Consumer Experience Strategy 32
8.2.1 Smartphones 32
8.2.2 One-Touch Function: 33
8.2.3 4K 33
8.2.4 Televisions With Enhanced Usability And Connectivity 34
8.2.5 Triluminos Display 35
8.2.6 Digital Imaging Products 35
8.3 Consumer Internet Company Google Delivering Movie 35
9.0 Brands Distinctive Approach With Digital Entertainment & Involvement Of Social Networking Company 37
9.1 BBC Partnership With 6waves 37
9.2 Branded Gaming 37
10.0 Select Industry Players 39
10.1 Hungama.Com 39
10.2 Box 39
10.3 Jelli 39
10.4 Lifo Interactive 39
10.5 Transmension 40
10.6 Uucun (China) 40
11.0 Case Study Analysis 41
11.1 UK Analysis 41
11.1.1 HMV 42
11.2 Japan Vs. USA Analysis 43
11.2.1 The Battle For The Global Entertainment Industry 43
11.2.2 Digital Entertainment Economy: A Solution For Recession 44
11.2.3 Components Of The New Digital Industry 44
11.2.4 Films And Video In Us Vs. Japan 45
11.2.5 Two Sides Of Intellectual Property Rights 45
11.2.6 Computer Games, Yu-Gi-Oh, And Cell Phones 46
11.2.7 Cultural Strength 47
11.3 China Analysis 48
11.3.1 NBA - Digital Entertainment Model 49
11.4 India Analysis 50
11.5 Germany Analysis 52
11.5.1 Demand For Physical 52
11.5.2 Digital Market Peneration 53
11.5.3 Domestic Repertoire 54
11.5.4 Performing Rights 54
11.5.5 New Forum Entertainment Competence Group 54
11.5.6 Partnership Of Mondia Media With O2 Germany 55
12.0 Recommendations For Ecosystem Players 56
12.1 Key Consideration For Industry Player 56
12.2 Cross-Platform Strategy For Market Player 56

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