Mary Ann Halford, Partner at Altman Solon (one of the world’s largest global strategy consulting firms with an exclusive focus on the Telecoms, Media, and Technology sectors), said: “I believe they [CE device makers] are becoming the new gatekeepers”, although she pointed out that Pay TV operators can compete in the CE market too – with Sky Glass  an example of a Pay TV operator as a Smart TV maker.

“The race is definitely on,” declared Joe Nilsson, Chief Commercial Officer at SportsTribal, a FAST specialising in Tier-Two sports with 40+ channels spanning billiards and motor sports to combat sports. He pointed to the ambition of “flag-bearers” like Samsung and LG, “who have their own OS and aggregate in two ways: their direct content product in the form of Samsung TV Plus and LG Channels, and aggregation of the TV market via apps.”

Halford highlighted a key strength of Smart TV makers: collecting ACR (automatic content recognition) data, and advanced advertising. “They are all building their own ad sales capabilities and leveraging this data,” she pointed out.

ACR uses fingerprinting to understand what a household is watching at pixel/glass level, which means that content from any external HDMI source (like a Pay TV set-top box) as well as from Smart TV curated services is covered. ACR also monitors content whether it is broadcast or streamed. That is a powerful tool when it comes to showing what a household watches and what advertising they have been exposed to.

Picking up on a potential weakness of CE device makers as aggregators, Nilsson questioned the extent to which they can harness exclusive content like sports to drive usage. Will a sports fan buy a particular television set if their favourite sport or competition was exclusive to that device maker?

The live audience also thought CE device makers are credible competitors for the role of primary TV aggregator in the entertainment home. Here are their answers to this question:

Who is best placed to be the default content aggregation and discovery UX that people return to again and again, every day (thinking about the time period 2023-2026)?

• Pay TV operators, 45%
• CE platforms (e.g., Smart TV makers), 25%
• Studio D2C, BVOD or AVOD apps providers, 13%
• Dedicated independent apps that aggregate streaming services or deep-link to content, 17%

So, how do Pay TV operators differentiate themselves from CE device makers in the battle for aggregation? You can read some of the non-exclusive qualities that will determine success or failure in our previous story, here.

But asked to focus on strengths that clearly favour Pay TV providers, Halford pointed to convenience as key, and that means multiscreen availability of the aggregated service, and portable viewing. Nilsson pointed to multiplay provision – the ability to tie aggregation to broadband and mobile services.

Brigita Brjuhhanov, TV Product Owner/Team Lead at Elisa, which launched an Android TV based next-generation TV platform called Elamus in Estonia last August, highlighted how multiplay provision helps Pay TV compete with streaming services that curate content (albeit in smaller ‘bouquets’). She noted that consumers are used to seeing Pay TV brands advertised on bus stops, and people have used their cellular services for 20 years and have deep trust in the brand, whereas some streaming services are brand new to a market.

This webcast considered the extent to which Pay TV device strategies can help operators maintain their relevance – and maybe even grow their market – for content aggregation. Sky Glass is a great example of innovative thinking, with the Sky-designed (and retailed) Smart TVs marketed on the basis of sophisticated hardware at a good price, available in monthly instalments (or a single payment) to homes that may not have satellite dishes (as it is a streaming-only television set) with a flexible subscription TV contract on the side.

“More Pay TV providers are starting to embrace Smart TVs as the fulcrum of the viewing experience,” according to Tim Pearson, Vice President, Solution Marketing at NAGRA (a long-time specialist in Pay TV and multiplatform TV provision, UX, business analytics and content protection, among other things). He was referring to the virtualised set-top box (‘operator-as-an app’ or ‘direct-to-TV’) model where the Pay TV operator functionality is built into the television set itself (thus removing the need for an operator STB).

NAGRA has a product called TVkey Cloud that supports this model by embedding the security anchors for content protection into the television set silicon (which has to be in partnership with a Smart TV maker – in this case with Samsung). This is designed for Pay TV operators ready to work with a CE partner, and enables marketing partnerships whereby the Pay TV offer is available out-of-the-box (as an automatic app launch) when someone plugs in their new Smart TV at home.

Sky has taken the concept another step forward, by becoming the CE partner for itself – designing and retailing its own television set (Sky Glass).

With more CE brands (beyond the original TV manufacturers) getting into the Smart TV OS business (e.g., Fire TV OS from Amazon and Roku TV from Roku), there is surely a growing danger that Pay TV operators could find themselves sitting behind a compelling UX-with-content offer from television set makers. Although Sky never says so explicitly, Sky Glass is a way for them to ensure their UX and content offer is always the first thing anyone sees in a Sky Glass home.

Sky cannot be relegated to second UX status on a Sky Glass television set – and that probably explains why another European Pay TV heavyweight, Deutsche Telekom, “is tracking this proposition to see if it makes sense,” – as revealed at Connected TV World Summit in May.

Still focusing on the impact of device strategy on the aggregation future, Pearson pointed to the growing sophistication of television sets and their operating systems in general, but also to the ongoing importance of set-top boxes, including how Android TV Operator Tier based STBs have proved their ability to boost a Pay TV operator’s position as a content aggregator (thanks to super-aggregation and content discovery features).

Brjuhhanov at Elisa noted that it is harder for Pay TV operators in smaller markets to onboard popular streaming services, due to market scale, and they may have to wait in turn while global streamers launch elsewhere. Elisa opted for an Android TV approach for its Elamus platform partly to ensure competitive onboarding. “Android TV has given lots of us more freedom and opportunities for aggregation, with more apps connected,” she pointed out (speaking on behalf of smaller Pay TV providers).

Halford pointed to the new Comcast/Charter Communications joint-venture in the U.S. for the nationwide availability of the Flex streaming device (and OS) as another example of how Pay TV providers can carve out new aggregation opportunities.

Comcast launched Xfinity Flex in March 2019 as a 4K streaming-only box (and OS/UX) to its Internet-only customers – that is the chunk of Comcast homes that are not taking a traditional Pay TV package from them. And there lies the opportunity: for Pay TV providers to stay in front of cord-cutters and remain their primary UX and aggregator for entertainment, even if it is a non-traditional bundle.

From that, new content distribution possibilities flow, too. Comcast bundled the Peacock streaming service (which it owns) with Flex at no extra cost. And most recently another of its owned streaming services, the free ad-supported Xumo, has been integrated into the Flex offer.

Then in April this year Charter joined Comcast in a joint-venture (contributing $900m to the cause) to expand the Flex OS/UX/app store/content offering into something more – a platform that can expand beyond Comcast homes via deals with hardware makers (and retailers). So, from 2023 when Charter starts to offer this product, Flex (however branded) will “compete at scale with established national platforms,” in the words of Tom Rutledge, Chairman and CEO at Charter.

It is worth pointing out that Flex is part of the same Global Technology Platform that the Comcast/Sky group has built and which also underpins Comcast’s Xfinity X1 set-top boxes, Sky Q and Sky Glass – and also X Class TV, an OS that Comcast makes available to third-party television makers in the U.S. (with Hisense as the launch partner). The plan for the Flex JV is that Comcast and Charter will both sell X Class TV sets directly or via retail, as well.

In short, [these] Pay TV providers have dived into the cord-cutter market to become the aggregators of non-Pay TV (but broadband) homes. As Halford points out: “They are seeing people cut the cord and seeking out content a la carte on Samsung TV, Roku and Amazon Fire, and they are trying to provide something [in that market segment] with the robust features of Pay TV navigation and discovery.”

Given the importance of apps onboarding, content partnership relations are as important as ever, and these were next on the webcast agenda. Is there any way that an aggregator can set themselves apart from others when looking to attract streaming services to their platform? Nilsson outlined what mattered to him.

“Addressable reach for the app is the primary driver – so how many of those devices [that the app is being integrated with] are in the market and also connected to the Internet. That’s the first question you ask yourself: ‘Is the juice worth the squeeze’, especially when there is a unique OS [that you have to develop/manage the app for].

“There is a commercial element,” Nilsson adds. “And we look for an alignment of our free offering alongside their paid propositions [so are they a good complement].”

Then there is ‘share of voice’: how many apps there are on the platform. Discoverability is also key, with Nilsson keen on the deep metadata integration that allows SportsTribal to automatically surface content from its app.

During the webcast, the audience were asked what they think are the key value-adds an aggregator must offer to content partners. Here is the full question and the results of the poll….

Beyond ‘carriage’, what are the most important value-adds a content aggregator (e.g. Pay TV/CE device maker) can give to a streaming content service? You can choose up to four items from the list. 

• Content discovery & content promotion (surfacing, visibility, prominence), 58%
• Attractive packaging (including in bundles, maybe with ongoing bundled discounting), 53%
• Unique audience reach (including co-marketing & promotional discounts), 47%
• Sharing of viewing behaviour insights, 42%
• Favourable onboarding/carriage business model (e.g., revenue share), 32%
• Credit/billing/account management functions, 26%
• Single sign-on, 26%
• Advertising (sales house) representation (where ad-supported), 21%

Content was also part of this discussion – namely the extent to which you need original, exclusive or local content to win the battle for aggregation. For Brjuhhanov, content is still key if you want to differentiate as an aggregator. “It is mandatory to have original content to separate you from others, but you must only focus on high-quality originals,” she declared.

The Elisa executive believes Pay TV operators can compete with global streamers for attention by ensuring the best content is available in local languages, with subtitles and audio description, and her advice is to partner with the local (national) broadcasters to create original content. She agreed there may be an opportunity to harness broadcaster library content on a platform and help to promote it.

For Halford, sport is the glue that keeps the diminished number of American Pay TV subscribers on-platform, and it remains the bedrock for Pay TV subscriber retention (and acquisition). “Sports is a flag in the ground for Pay TV providers to acquire new users,” Joe Nilsson added. “That means the fight at the top [for Tier-One sports rights] is pretty intense.”

Local and hyper-local is an opportunity for Pay TV to differentiate itself, now that streaming has reduced the barriers to entry for live productions, according to Pearson. This is a strategy employed by several NAGRA Pay TV customers in the U.S.

Sports is an obvious candidate for hyper-localisation. “Some of the regional operators we work with see this as an opportunity to differentiate their services and add a whole new category of content,” Pearson explained. Hyper-local could mean city-level stretching to regional or even State-level in the U.S. “It depends on the size of the audience for the content [i.e., how widely you have to spread the content offer to reach a viable minimum audience],” he explained.

This is part of a two-piece report, and you can read about the other key webcast insights here, including:

• The importance of content discovery, packaging and promotion in the battle to be primary aggregator
• How the total content offer on a platform can be expanded using apps onboarding
• The value of multi-genre and multi-demo diversity via the apps partnerships, when super-aggregating
• Value-adds that leverage trust and brand relevance, like carrier billing.

Watch the webcast itself on-demand.

Tim Pearson, Vice President, Solution Marketing at NAGRA (a long-time specialist in Pay TV and multiplatform TV provision, UX, business analytics and content protection, among other things) flagged the importance of packaging and curation to make content discoverable. “We are seeing content start to fragment, but consumers still need direction and good navigation to help them find the content they are looking for.” That means editorial as well as automated recommendations.

Viewing behaviour insights underpin discovery and also content marketing, “giving you the opportunity to shape packages and propose new consumption approaches,” he stated.

Packaging and promotion are seen as key value-adds for any aggregator (and one where Pay TV can leverage its experience and strengths). Mary Ann Halford, Partner at Altman Solon (one of the world’s largest global strategy consulting firms with an exclusive focus on the Telecommunications, Media, and Technology (TMT) sectors), noted the power of free or discounted introductory offers on streaming services.

Onboarding of streaming services is central to the future of aggregation – and for Pay TV operators, super-aggregation is a way to expand the total content offer on their platform without additional content costs to themselves. Joe Nilsson, Chief Commercial Officer, SportsTribal (a FAST specialising in Tier-Two sports with 40+ channels spanning billiards and motor sports to combat sports) made this point and the specific case for the addition of T2 sports as a complement to the Tier-One sports typically found on Pay TV offers.

He believes a curated multi-channel (streamed) T2 sports offer represents a collective that becomes interesting to an aggregating platform. “It is hard to make some of the smaller sports work as standalone propositions but in a bouquet, like with motor sports or combat sports, the categories become compelling, especially if they are free to the operator,” Nilsson argued.

“We [as an onboarded app] are extending the content offering for the Pay TV operator or CE platform,” he continued. “For Pay TV providers, a bouquet like this can provide incremental audience, and for them and TV makers it will help to stop people exiting the platform.”

Expanding on this last point, Nilsson claimed: “FAST drives phenomenal watch times.” He reckons the linear nature of FAST is good for content discovery, as it reduces the decisioning burden on consumers and makes it easy to move from one content choice to another.

Halford noted that streaming services (as onboarded apps) reach different demographic audiences [in the same way that linear channels do]. vMVPD curations in the U.S. (available from Pay TV providers and non-Pay TV challengers) have distinct flavours to the point where they can appeal to different kinds of women (not just to women), for example.

Pay TV has always thrived by providing multi-genre diversity and having something for everyone, so the call-to-action is clear: make sure apps onboarding extends that principle.

Returning to content discovery and packaging, Halford, pointed out: “You have to ensure consumers are not choked with lots of programming services they have no interest in” and that “viewers want the opportunity to be surprised.”

Brigita Brjuhhanov, TV Product Owner/Team Lead at Elisa, summed up the critical nature of content discovery to the future of aggregation. “We have to make sure viewers have something to watch every day, every hour, and they never feel there is nothing to watch.” Elisa launched an Android TV based next-generation TV platform, Elamus, in Estonia last August and demonstrates how smaller operators can stay competitive in the aggregation game.

“You need good personal recommendations that show up content that is new, and which viewers have not seen before, and which excite the ‘local’ viewer,” Brjuhhanov observed – with her final point referencing the need for Pay TV platforms to differentiate themselves from global streamers with local content. “You need a great UX, and the Pay TV service needs to be multiscreen, of course.”

Pearson said Pay TV operators must ensure their ‘brand relevance’, which builds upon long-term subscriber relationships by offering new value-add functions, one of which could be carrier billing for onboarded apps. This is especially valuable in markets where credit cards are less widely used, he pointed out. NAGRA customer Claro adds Netflix to is Pay TV bills in Colombia for example, clearly increasing the potential market for the onboarded SVOD giant.

This webcast, which you can watch on-demand, also considered the degree to which CE device makers (especially Smart TV providers) are a threat to Pay TV in the aggregation space (answer – they are, and this is a view that 25% of the live audience took when asked who is best placed to be the default aggregator people use every day for their TV). You can see the full results of that poll in the on-demand recording.

The ‘Winning the aggregation battle’ webcast, which you can now watch on-demand, discusses how Pay TV operators can differentiate themselves from these CE aggregation rivals. The impact of device strategy on aggregation is explored. There is a discussion about how aggregators can make themselves more appealing than their rivals to a streaming service – and thus ensure they can onboard that streamer. And the importance of original, exclusive or ‘just’ local content, is explored.

The live audience also answered this poll question: ‘Beyond ‘carriage’, what are the most important value-adds a content aggregator (e.g., Pay TV/CE device makers) can give to a streaming content service?’ The results from this poll are revealed.

Watch the webcast on-demand

How the F1TV Pro app super-serves its hardcore fans

Formula 1 is currently enjoying a renaissance, with Netflix’s hit Drive to Survive documentary and a robust F1TV Pro app driving engagement among audiences – even in North America where interest in the sport typically trails behind Europe. So, how has Formula 1 used its OTT offering to maximise reach?

The F1TV Pro app supplements, rather than cannibalises, the existing broadcast experience, Ashwin Desai explained. “F1’s quite a unique sport in that broadcasters have the world feed — a fully-produced feed by F1 that showcases the relevant action from an overall championship standpoint. At the same time though, there are many other drivers on the grid and on the track. Most action will be to two or three cars, but there are another 17 there that have their own team and driver followings.

“The F1TV Pro app allows you to follow any of those drivers. It has onboard cams from all 20 drivers, it has a data feed, a new pit lane channel, it has various additional commentary feeds in different languages… It gives you access to all the telemetry that’s within the live timing app that we’ve had on the market for a long time. It really super-serves the fans, both from a primary screen perspective but also, with the tie-in product, with the second screen experience.”

Converting consumers of pirated content into paying customers

Piracy costs the sports industry $28 billion a year in convertible value. Simon Brydon (Synamedia) argued that to win back this lost audience, rights holders need to understand that viewers of pirated content are consumers like any other, who are sensitive to price and convenience. They are not averse to paying for content ­– Brydon noted that 74% also pay to subscribe to a legal service.

Speaking about the pirates themselves, Brydon said: “It’s extremely easy to steal [OTT] content. These professional criminals will aggregate everything: the entire works of live sport, Hollywood studios, Netflix, everything — and they’re just offering a replacement service… With so much pressure on the wallet and the multitude of services you need to buy, if you can get everything ever made in the world, live, VOD, etc., for £10 a month, it’s a really attractive proposition.”

Price and fragmentation aren’t the only factors driving consumers to purchase pirated content. In many regions, known as “dark markets”, consumers simply aren’t served any legal content and have no other way to access it. Brydon urged rights owners to improve their distribution models to fill these gaps, otherwise these sophisticated piracy networks will continue to profit. It’s these networks that need to be targeted, rather than implementing digital rights management (DRM) that inconveniences legitimate users.

“If you make it really hard [to steal content], you drive up the cost of delivering and you drive up the inconvenience, and you can drive certain businesses out of business because as the cost of aggregating it goes up, the cost of distributing by the pirate goes up and resellers will drop out of the market because it gets too expensive. If you do it properly, the pirate consumer does buy legal content.”

Deliver on UX to keep fans engaged on OTT apps

In a marketplace that becomes more crowded each year, OTT apps need to find ways to differentiate themselves from the competition. One crucial aspect is the user experience, as consumers will quickly bounce off a platform that is inconvenient or, worse, non-functional. Joe Nilsson explained what approach SportsTribal — as a new AVOD sports platform — takes towards delivering an elegant user experience.

“The bar is set pretty high by a lot of the other people in the OTT space. People have an expectation set by Netflix for a user experience,” Nilsson commented. “So, that’s the Gold Standard in the industry, if you can get to that. There are others that are not that. We’re en-route — a classic startup — we have to start somewhere, and we started with the most critical pieces of our product.”

Once the video player itself was up and running, SportsTribal’s next step was keeping the content coming, especially for sports programming which fans will often have playing continuously in the background of their day-to-day life. “It’s extending that user journey and making sure that when they fall out of that sports piece, and they stopped watching, they fall into something that extends that watch time, making that journey seamless.”

This live webcast explores the future of aggregation – and how platform operators and streaming services that curate content can differentiate themselves in the battle to acquire and keep users. It considers the value of Originals and exclusive content – and how platforms and streaming services that lack exclusive content can set themselves apart in the 2020s, and what their value-add is for consumers.

You will hear about the evolving relationship between content curators and aggregators and their content partners – including the onboarding of apps and the benefits that Pay TV operators can bring to streaming app providers beyond ‘carriage’, from carrier billing through to marketing and advertising partnerships.

Our panellists consider the opportunities for aggregators and content curators to segment the Pay TV market and address a larger total audience, serving genre super-fans through to light and casual viewers. Extended aggregation opportunities are investigated – like music streaming and exercise apps – and we ask: can platform providers become more central in the digital consumer home?

The panellists are:

• Brigita Brjuhhanov, TV Product Owner/Team Lead, Elisa
• Joe Nilsson, Chief Commercial Officer, SportsTribal
• Tim Pearson, Vice President, Solution Marketing, NAGRA
• Mary Ann Halford, Partner, Altman Solon
• Moderator, John Moulding, Editor-in-Chief, Videonet

This webcast is live and will include audience questions. It is free and you can register here.

Elisa is one of the most important small/medium Pay TV providers in Europe, demonstrating how operators can cement their position in homes with its next-generation TV platform, Elamus, which was launched last August.

SportsTribal is a new FAST (free ad supported streaming TV) platform devoted to sports, featuring 35 channels that span billiards to combat sports, giving rights holders another distribution option beyond Pay TV and direct-to-consumer apps. This service is an app itself, appearing on Smart TV platforms.

NAGRA is a long-time leader in multiplatform television delivery and UX development (in addition to content protection, data-driven business analytics and cybersecurity. The company has extensive experience helping Pay TV providers (and indeed sport rights holders and streamers) creating platforms and services designed to attract consumers.

Altman Solon is one of the world’s largest global strategy consulting firms with an exclusive focus on the Telecommunications, Media, and Technology (TMT) sectors and among its many subject specialists has helped global media companies and dynamic new players adapt to the disruption of OTT/streaming video and the new strategies for creating, marketing, and delivering video content.

Other themes that will be addressed during this one-hour live video discussion include:

• The potential of CE platforms (from Samsung and LG to Amazon, Google and Apple) as content curators and aggregators.
• Best practice in content discovery and navigation – how to get consumers to the content they will love faster and more reliably.
• Content that attracts and keeps users on aggregated services and the relative merits of international vs local and hyper-local.
• Device strategies to reach the total subscription TV market, from high-end home gateways to streamer boxes and direct-to-TV (operator-as-an-app) approaches.
• Where content will come from as major international studios sell more of their output to their own D2C streaming service (life without your own studio).
• The potential for streaming services to grow their app ‘universe’ with third-party content relationships, and how third-party content is curated and presented.
• How smaller operators remain competitive in television services, ensuring sophisticated aggregation, personalisation, content discovery and navigation experiences.

Register here