If your Halloween costume includes an eye-patch, cutlass, some serious swagger and the phrase, “Aye, matie,” you’ll probably be best advised to stay away from Hollywood parties where the word “pirate” this week is being connected to “$52 billion loss.”
A new report from Digital TV Research posits that revenue losses due to piracy are expected to double between 2016 and 2022 to the tune of $51.6 billion, a significant chest of gold, and that total doesn’t include sports and pay TV.
Some good news for the home entertainment industry – depending upon which segment of the industry you’re part of: Consumers spent nearly $18.3 billion in 2016, a 2% increase from 2015.
Call it the “three-strike rule.” A new survey from CDN Limelight found that 78% of OTT viewers will tolerate two buffering occurrences, but will abandon the video after three.
Buffering remains the No. 1 frustration for viewers, especially as high-speed broadband becomes more common.
More than three-quarters (77%) of Australian adults use mobile phones to access the Internet, more than on laptops (75%) desktop computers (61%) and tablets (54%), according to a report from the Australian Communications and Media Authority (ACMA).
That growth is being driven, in large part, by the increasing consumption of online video, a trend that is having a major impact on the communications industry.
Consumers in APAC watch more than 1.6 hours of online video content daily, nearly matching the 2.0 hours of traditional TV they consume daily, a new report says.
A new report from British telecom regulator Ofcom says that – for the first time ever – kids are spending more time online than watching television weekly.
The report said five- to 15-year-olds in the past year have increased their Internet time by some 79 minutes to 15 hours a week. Almost all of that time came at the expense of television. Young viewers in the past year spent 72 minutes less time with the television, and now average 13 hours and 36 minutes.
AMC has taken a minority share in Funny or Die, the online comedy channel, in a deal that aims to leverage the strength that AMC-owned IFC has in the linear space and Funny or Die has online and in social media.