Eric Calderon’s Post

Yesterday, I posted about Animation+, the Adult-animation-only Samsung TV FAST channel. Well, here's yet another specific offering! MeTV Toons is setting itself up as the defecto linear location for retro kids cartoons and animation classics. Launching JUNE 25th, it's aiming to be the 'Boomerang of 2024' for those old enough to get the reference. https://lnkd.in/dsQn9Nd7 Note that this is traditional and virtual MVPD (Multi Video Programming Distributor) not streaming. So, think more Cox Cable, Time Warner, Verizon FIOS, and Charter Spectrum. In other words, if you need an old-school remote control to watch and need to sit down at the exact time to watch, then that's probably MVPD! But of course, like my parents, you can also record it and play it back later on those strange cable boxes that are somehow still around! 😅 This distribution method seems right considering the age of the target fan and their affinity for programming produced 30, 40, and even 50 years ago! The only problem is... I only visit my parents a few times a year. So, how the heck am I gonna watch those Droopy, Popeye, and Mr. Magoo episodes!?! #animation #cartoons #retro #linearbroadcasting

Read the latest report from Omdia on windowing strategies.

With US studio release strategy in the spotlight, Omdia has just published a report analysing the licensing of the top 100 movies at the US box office last year. Some key findings: 💡 Reinforced by the summer "Barbenheimer" phenomenon, the average theatrical window in the US increased to 39 days for the top 100. 💡 The average days from TVOD to SVOD release was 67 days. Only one film in the top 100 (Five Nights At Freddy's) was released day-and-date on theatrical and SVOD. 💡 Disney was the studio with the longest average theatrical exclusivity window in 2023, replacing Sony last year. 💡 Warner Bros. has now firmly departed from the day-and-date strategy that was used for all titles in 2021 (which led to Oppenheimer director Christopher Nolan jumping ship). 💡 Studios mostly released their movies in the pay one window on their own SVOD services. The exception was Sony, with Netflix getting an exclusive window for nine Sony top 100 releases. The report, co-authored by Charlotte Jones, Sarah Henschel and myself, is available here: https://lnkd.in/eVcc8QQd For more details, get in touch! #cinema #windows #distribution #omdia #streaming

With so many screens vying for viewers attention, the creative task of packaging big-budget television and streaming programming has never been more important or come with so much pressure to make a dent in popular culture. #broadcastdesign #broadcastmedia #motiondesign #design

The digital era is all about videos, and Uvisuals Studios is your gateway to capturing the hearts and screens of online viewers. Elevate your events to the virtual stage! #brandstorytelling #uvisualstudios #documentary #ngo #livestreaming #eventproduction #videoproduction #corporatevideo #tvcommercial #digitalads

Is Diversity a Risk for Streaming Viewership? Absolutely Not, Says UCLA Report https://ift.tt/MbyC2AJ For anyone unfamiliar, the Hollywood Diversity Report is an 11-year-running annual in-depth analyses of the industry at large. Developed by UCLA, it's an audit of sorts of tracking diversity behind and in front of the camera, as well as comprehensive breakdowns of the audiences and what they’re watching in the theaters and at home. This extensive research project is broken down into parts, with the first released last year revealing "women and people of color drove box office numbers" (via UCLA's media release). Part two is here to focus on everyone's favorite new catered cable programming, streaming. The general summary of the report shows that women and people of color were extremely dominate in viewership for streaming this year. This is important for representation in many big ways, as it shows that diversity in front of and behind the camera naturally draws an audience at shouldn't be viewed as a "risk." As UCLA’s executive vice chancellor and provost, and co-founder of the Hollywood Diversity Report puts it: "We know investing in diversity isn’t a risk. It should be considered a strategic business imperative if Hollywood wants to survive.” It's a very concise and important point made by Hunt. We often hear big studio movies timid to make earnest diverse films due to the "risk" of alienating their audience. Which, in theory, is pretty silly when you consider the grander population of the world, and it's important and cool to see these numbers presented by the report. Anyway. Here at No Film School we rarely get to give our readership what they're all looking for: charts! School is in the name people. You have to expect charts every once in awhile. Buckle up. Keep reading below for a closer look at the numbers carefully researched by UCLA scholars. Key Takeaways From  Look at that data! As I am no man of numbers, I'll let it speak for itself without superfluous wax poetics. Enjoy these key takeaways assembled by the true heroes of this report: Women made up the majority of viewers for nine of the top 10 streaming films of 2023, while households of color were also overrepresented as viewers for nine of the top 10. Among creators, women and people of color still find more opportunities in streaming than in theatrical productions but continue to face limited resources as white male directors helm the few high-budget projects. Women reached proportionate representation as leads in films but were most likely to star in films with smaller budgets and continue to lag in terms of overall cast. People of color remain underrepresented behind the camera, but they reached proportionate representation in terms of total cast on screen and their largest share of film leads for the first time in the report series. While this is certainly a promising move forward for diversity in film and TV, we can only hope that this stays consi...

#OTTrends 57.4% of internet users prefer a Web Series to a Movie on OTT platforms!  (An interesting shift from the pre-OTT days of blockbusters) Jupiter Meta ran an insight module with a diverse panel of users to understand their preference of OTT content. While the majority chose the episodic route, movies were not far behind. The slight edge that the Web Series garnered could be attributed to the varied genres of content being pushed when compared to the variety of movies. Notably, a whopping 79.4% of these insight generators fell in the 20-30 age bracket.

When less is more in Live Production Last year, we took a bold step with a redesign of our Dizplai platform that might raise a few eyebrows (and you can point fingers at me for this one): we cut features. Yep. In an industry where piling on more and more is the norm, we decided to focus. Why? Because I've seen too many live producers get tangled in unnecessary complexities that just don’t add value. And we know what our role is. It's laser-focused on ensuring live creators and producers can create engaging, data-rich & interactive experiences across sports, news and entertainment programming. And the result? Producers are now using our platform in far more ways than before, and we’ve given ourselves the confidence to know that if it’s in the platform, it’s there for a very good reason. #sportsbiz #sportsindustry #broadcast

The game changed for animation at Netflix just ahead of earnings last night. Skydance Animation, under John Lasseter, unceremoniously dropped Apple for a multi-year deal with Netflix. Is Lasseter betting that Netflix, who undoubtedly remains the dominating streaming platform, will be able to deliver that critical mass of audiences and success to his studio’s output? Going back to his roots for a minute, he’s used to working in “the machine” that is Disney. My caution would be that the absence of this “machine” at Netflix was a point of undoing some of their preschool Original animation output... see Chris Nee. Could there be something else in the pipeline? Might Ted Sarandos be coming to the position that a proper theatrical run would actually elevate certain movies? Published full thoughts on this through my new substack here: https://lnkd.in/eVtZiPwD Full earnings notes will hit tomorrow. #netflix #streaming #theatrical #kidscontent

📊 Key findings on SVOD Usage in the European Union based on SVOD viewing time data provided by Goldmedia’s VOD-Ratings in 9 EU countries from September 2022 to September 2023. 🔍 Concentration is the main characteristic of VOD usage in Europe with 85% of viewing time generated by only three services (Netflix, Prime Video and Disney+). Fiction works accounted for 87% and 95% of viewing time of film and TV seasons. Viewing time is also mainly generated by recent films (produced in 2022-23). 🌍 Even if there are nuances between countries, consumption patterns are similar across all 9 countries in the sample. 🎞️ European works accounted for 30% of SVOD viewing time, including 21% for EU works, 9% United Kingdom works and 1% for other European works. When comparing their share in catalogues and viewing time, US works are systematically overconsumed and European works underconsumed. However, among European works, national works are overconsumed in 7 out of the 9 countries of the sample, whereas EU non-national works are underconsumed in all countries. 🌎 Beyond European and US works, of note is the modest weight of consumption of works from other regions of the world (8%, well under their share of catalogues). 📈 Check out the full report here: https://lnkd.in/dRDUt4hw #SVOD #EU #streaming #entertainment #data #viewingtime #Goldmedia #VODRatings #Netflix #PrimeVideo #Disney+ #films #TV #Europeanworks #USworks #catalogues #consumptionpatterns