Posts Tagged ‘broadcast’

IBC 2011 Trends: Cloud, Channel-in-a-Box, 3D

broadcast industry technology trends, broadcast industry trends, broadcast technology market research | Posted by Joe Zaller
Sep 30 2011

Note: This article was originally published last week by TVNewsCheck

Technology vendors at IBC answered the broadcasters’ call for efficiency in a variety of ways, including “cloud” oriented product offerings, highly integrated IT-based systems for broadcast playout, and the introduction of new versions of existing systems that are smaller and less featured, but more affordable to broadcasters with limited budgets.

Also on display at the annual tech show, which wrapped up a six-day run in Amsterdam last week and drew more than 50,000 professionals, were technologies aimed at making 3D production more affordable and compatible with standard 2D operations.

Many vendors were touting the advantages of deploying some type of cloud-based or service-oriented architecture (SOA) applications such as capturing, producing, processing and distributing video and audio as digital files.

Cloud services are drawing attention because broadcasters are being challenged to support an ever-increasing number of distribution platforms. The breadth and rapidly changing nature of the multi-screen environment makes it difficult for even large broadcasters to deploy the appropriate hardware and software solutions in an affordable and timely manner. Thus, broadcasters are now increasingly willing to contemplate outsourcing some of these functions to cloud-based technologies and services.

Many vendors at IBC demonstrated technologies to address some of the fundamental concerns that broadcasters have about cloud-based architectures, notably content security, access to content, collaboration, bandwidth and workflow continuity.

Avid, Chyron, Grass Valley, Panasonic, Sony, Quantel and Vizrt showed their own methods for deploying “media-friendly” SOAs that provide a common interface and pre-authorized access to a wide variety of production tools from every staff member’s desktop.

In addition, the Advanced Media Workflow Association, the European Broadcasting Union and SMPTE came together to develop a standard for configuring an SOA that would allow each manufacturer’s equipment to talk to each other. The effort stems from the vendors’ realization that — due to R&D cost efficiencies — their next-generation products will be predominantly software based and operate best in this type of networked environment.

SOAs also help broadcasters produce and distribute content much more efficiently and allow staff to collaborate even though they may be in separate locations.

Many of these IT-centric concepts are not new ideas, but are now becoming attractive to the video production and broadcasting communities, looking to do more with the same resources. Industry connectivity to Internet protocol (IP) infrastructures has matured and newer consumer-industry file transfer technologies — like IP, HDMI and Apple/Intel’s Thunderbolt — offer benefits for broadcasters that were not apparent before.

Another significant hub of IT-oriented activity at the IBC was in the area of IT-based playout or, as it is more commonly known, channel in a box. These systems offer the promise of dramatically reducing the cost of broadcast playout by enabling users to migrate to off-the-shelf IT hardware running software that integrates, automates and replaces much of the traditional broadcast master control infrastructure.

Technology in this area had matured significantly over the past 6-12 months, and is now are under serious consideration by a number of large and small broadcasters around the world. Miranda Technologies, which became the de facto leader in this emerging field when it acquired the OmniBus Systems’ iTX platform last year, showed the latest advances in its IT-based playout offerings.

Other notable players in this space include traditional broadcast suppliers such as Snell and Evertz, as well as smaller specialized players like Playbox and VSN. Significantly, other large technology vendors are rumored to be readying competing systems that will be introduced in time for the annual NAB Show in April 2012.

In addition to the increasing drive for increased efficiencies, many IBC attendees were gearing up for the high-profile sporting and political events of 2012. In some cases, that means 3D. While the technology has yet to even be considered by local broadcasters in the U.S., a variety of live sports production companies across Europe are already producing events like soccer and rugby in 3D or are anticipating that they will by the time of the Olympics in London.

The games will be the first in 3D, with many events, including the opening and closing ceremonies, produced in the format. Panasonic will be supplying large quantities of 3D cameras and other gear.

Avatar director and 3D pioneer James Cameron put in appearances at several places at the IBC, promoting his new company, The Cameron/Pace Group, and urging industry professionals to pursue and help develop new tools for producing 2D and 3D content simultaneously.

According to Cameron, it’s the only way to stimulate the market to develop much-need original 3D content, and, in turn, spur 3D TV set sales. Previously, the cost of producing 3D has been prohibitive for everyone but a fortunate few who are being sponsored by TV set manufacturers.

“We’re on a relentless path to grow the 3D business,” said Cameron, at the Grass Valley IBC press conference. “We’ve been in the 3D game for 12 years now. We are so excited about what’s happening right now [with 3D] but it’s a little bit daunting staying ahead of the rapid rate of technology change, so we have to have powerful alliances with people that are major players in broadcast who will be able to fulfill this future and supply the kind of quality 3D that people enjoy.”

At the same press conference, Cameron’s partner (and equally influential 3D pioneer) Vince Pace said, “It’s so critical to the industry that we integrate the solutions and come up with a very clean and determined business plan that makes sense to the industry to increase the amount of 3D productions. So, this business of saying we have fewer cameras or we don’t tell the whole story is going to go away.”

IBC attendance was up slightly this year (4%, according to the IBC, to 50,462), again signaling that broadcasters are spending money — on hardware and T&E. Unlike last year, there were several representatives of all the major U.S. TV networks.

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The Commercial Drivers for Multi-Platform Content Distribution in the Broadcast Industry

broadcast industry technology trends, broadcast industry trends, broadcast technology market research, content delivery | Posted by Joe Zaller
Jan 13 2011

This is the third in a series of occasional articles about the commercial drivers behind some of the most important trends in the broadcast industry.

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As part of the 2010 Big Broadcast Survey, we asked a global sample of more than 5,600 broadcast professionals about the most important trends in the broadcast industry.  Respondents were presented with a series of industry trends, and asked to indicate which one is the “most important” commercially to their business over the next few years, which one is “second most important” commercially important to their business over the next few years, and which others are “also very important.” 

These results were then weighted to create the 2010 BBS Trends Index, which is shown in the table below.

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By a wide margin, the top three places in the 2010 BBS Global Trend Index were multi-platform content delivery; file-based / tapeless workflows; and the transition to HDTV operations.

This article looks at the commercial drivers behind the top trend in the 2010 BBS Trend Index, multi-platform content delivery, and sheds light on why multi-platform content delivery is important to broadcast professionals world-wide. 

If interested, you can also read previous articles about commercial drivers for the global move to HDTV operations, and the commercial drivers for the global move to file-based operations.

In order to understand why, we asked respondents who said multi-platform content delivery the trend that’s most commercially important to their business a series of questions, including the reasons why, which vendors they feel are best positioned to provide solutions to their needs, and what obstacles they think might prevent them from achieving their goals.

As shown in the chart below, the top two reasons cited by most 2010 BBS respondents for the commercial importance of multi-platform content delivery is to provide potential new revenue streams and to ensure that branded content is available on all distribution platforms.

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These results were fairly consistent across the respondent base, with 77% of respondents falling into one of these two categories.  However there were a few notable exceptions. 

There was a marked contrast in the responses from pay TV broadcasters versus license fee funded broadcasters.  Pay TV providers were overwhelmingly concerned with new revenue streams, while public broadcasters were interested primarily in making sure their branded content is available on all distribution platforms.

Second only to pay TV providers, respondents from the government / education / corporate sectors were also very interested in having their content available on all platforms

Other differences were more subtle.   Respondents from EMEA were slightly more interested having their branded content on all platforms, than were respondents from the Americas who were more interested in generating new revenue streams.

Participants in the China and the Middle East and Africa were more interested in gaining a competitive advantage than respondents from other regions.

When considering the responses of broadcasters (shown on the far right of the above chart), most seem to agree that the generating new revenue streams is the most important reason for moving to a multi-platform distribution model.  Interestingly the smallest broadcasters see the need to have their content widely available on all platforms is more important than new revenue stream.

If you are interested in a more comprehensive breakdown of these results, please contact Devoncroft Partners for more information.  

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This article is based on the findings from the 2010 Big Broadcast Survey (BBS), a global study of industry trends, technology purchasing behavior and the opinion of vendor brands.  With more than 5,600 people in 120+ countries participating, the 2010 version of the BBS is the largest and most comprehensive market study ever done in the broadcast industry.

The 2011 Big Broadcast Survey will be published in the first quarter of 2011, and will provide an updated view of these findings as well as a year-over-year comparison.

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Devoncroft Digest – August 15, 2010 – Earnings Galore, Broadcast Industry M&A Continues

broadcast industry trends, broadcast technology market research, Broadcast technology vendor financials, Devoncroft Digest, market research | Posted by Joe Zaller
Aug 15 2010

The Devoncroft Digest is a semi-regular amalgamation of news items I’ve seen recently that I think might be interesting / important for readers and clients. 

Due to my travel schedule it’s been two weeks since the last digest post.  Here are a few of the things that have caught my eye during this time.

Earnings Season Continues

We are now in the heart of earnings season, and a large number of tech vendors, platform operators, service providers and broadcasters.  For the most part these results have been generally positive, with many companies saying that they are seeing the green shoots of recovery taking hold. 

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Broadcast Technology Vendor Earnings

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Vizrt Q2 Revenue Rises 17%, CEO Says Market is Improving

Broadcast graphics and asset management provider Vizrt announced its Q2 and 1H results. Revenue for the quarter was up 17% y/y, driven by strong growth in the Americas, which was up 48% y/y.

Gross margins for the quarter were 65%, well ahead of the 58% that the company achieved during the same period a year ago. Broadcast graphics accounted for 72% of the company’s total revenues in 1H 2010.  According to the company, Vizrt’s graphics business is up 33% y/y.

Full details here.

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Chyron Q2 Losses Narrow as Revenue Jumps 20% 

Broadcast graphics provider Chyron announced its financial results for Q2 and 1H 2010.

Q2 revenue was $6.94m, up 20% versus Q2 2009.  Gross margins for the quarter were 70%, up slightly from the previous year.  Q2 product revenue was $5.4m, up 18% y/y.  Service revenue increased 29% y/y to $1.19m.  Service revenue accounted for 22% of the quarter’s total revenue. The company posted an operating loss for the quarter of $680,000, a 52% y/y improvement; and a net loss of $710,000, 35% better than a year ago.

Full Details Here

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Miranda Q2 Revenue Up 3% y/y, +11% q/q. CEO Says Market Conditions Improving

Broadcast infrastructure provider Miranda Technologies announced their Q2 2010 results.  Revenue for the quarter was C$32.1m, up 3% from the same period a year ago and up 11% versus the previous quarter.  International sales were up 11% y/y.  Sales in the US were up 10% y/y

The company’s net income jumped 173% to C$3.5m as expenses were reduced during the quarter, and EBITDA rose by 125% to C$6m versus the same period in 2009.  Gross margins were 60%, slightly down from Q2 2009, but up from 57.7% in the previous quarter.  This is a good showing in a competitive market, which the company attributes to a higher margin mix, and increased sales of routing switchers.

Full Details Here

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DivX Q2 Revenue Jumps 29%

DivX announced that its Q2 revenues were up 29% y/y and that its licensing business was up 23% y/y.  The company, which is in the process of being acquired by Sonic (who also announced their numbers recently) posted a GAAP Loss of $2.8m, and non-GAAP NI of $760K

Read the Divx earnings press release here 

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DG FastChannel Reports Record Q2

Advertising and broadcast content delivery specialist DG FastChannel reported record results for its FY2010 second quarter, blowing past the expectations of equity analysts. 

Revenue for the quarter was $60.3m, well ahead of the $55.6m consensus estimate of equity analysts.  This represents a 38% revenue increase versus the same period a year ago, and an increase of 11% from the previous quarter.  Net income for the quarter was $9m, up 150% increase versus Q2 2009 and up 12.5% versus the previous quarter.

Significantly, the company’s revenue from the delivery of HD advertising content increased 99% to $23.9 million versus the same period of 2009.

The company also that it retired all of its outstanding debt, thanks to a recent public equity offering that raised net proceeds of approximately $108m. As a result of this offering, the company reported that as of June 30, 2010, it has $79.6 million in cash and no debt.

Company Chairman & CEO Scott Ginsburg said “The Company continues to execute on its strategic business plan… revenue, margins, earnings and net debt show marked improvements during the second quarter.”

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Harris Broadcast Records $21m Operating Loss

Harris Corporation reported its Q4 and full year 2010 results.  While the company as a whole did well, the broadcast communications division continued to struggle.

For the full year, revenues from the broadcast communications division were down 17% versus the previous year.  For Q4, the company’s broadcast revenues were down just 1.9% y/y, although orders were down 12.5% versus the same period last year.

In the 4th quarter of FY 2010, Harris posted an operating loss of $21m.  According to the company, this “includes $7 million in charges related to cost-reduction actions and $6 million in inventory write-downs associated with weaker demand.”

Harris CEO Howard Lance said the following about the revenue of the broadcast division: “we continue to expect revenue in a range of $490 million to $510 million with break-even operating results. We expect to see continued operating losses in the first half of the year with profitability improving in the second half of the fiscal year.”

Full Details Here

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RealD Reports 1st Results As Public Company

3D specialist RealD announced its first results as a public company, and reported huge y/y increases in revenue and EBITDA, which were up 152% and 387% respectively.  The company announced that it has now deployed 7500 screens, significantly more than Technicolor, who announced recently that they have now deployed 250 screens, 

Read the RealD earnings press release here.

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Broadcaster & Platform Operator Earnings

DISH Network Reports Second Quarter 2010 Financial Results 

DISH Network reported total revenue of $3.17 billion for the quarter ended June 30, 2010, a 9.1 percent increase compared with $2.90 billion for the corresponding period in 2009.

DISH Network lost approximately 19,000 net subscribers during the quarter ended June 30, 2010, ending the quarter with approximately 14.318 million subscribers.

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Ascent Media Reports Lower Revenue, Higher Losses

Digital media service provider Ascent Media reported increased losses and lower revenue for the second quarter ended of 2010.  The company attributes the lower results to market volatility and lower capital spending by customers. 

Revenue for the quarter dropped 13% to $99.5m, while revenue for the first six months was off 11% to $204m.  The company said that the decline in second quarter and year-to-date revenue was driven primarily by a reduction in revenue from the Content Services segment.

Q2 losses from continuing operations before income taxes were $17.5m, compared to a loss of $12.4 million in the prior year period. Year-to-date, the loss from continuing operations before income taxes was $28.6 million compared to a loss of $23.2 million for the six months ended June 30, 2009.

 “Ascent’s year-to-date operating results have not met our expectations as uncertainty about the timing and pace of the economic recovery has led to ongoing volatility in the media marketplace,” said William Fitzgerald, Ascent’s CEO. “A consequence of the current environment is that our customers have continued to take a cautious approach to capital spending.”

Fitzgerald was more upbeat about the rest of 2010, saying “We are beginning to see positive indications of an upturn, including first half revenue improvement in our creative services business, a strengthening pipeline of feature film and other projects, and rising industry advertising estimates for the second half of 2010.”

Ascent’s full earnings press release can be found here.

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Scripps Reports Second-Quarter Results 

Scripps reported operating results for the second quarter of 2010 that showed a continuing trend of significantly improved year-over-year revenue performance in the television division – up 22 percent from last year.

You can read the Scripps earnings release here.

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Liberty Media Reports Second Quarter 2010 Financial Results

The Liberty Media press release is here.

Liberty Media investor conference call transcript here.

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DIRECTV Q2 Rev Up 12%, Net Income up 33% Buys Back Stock 

DTH satellite operator DirecTV announced that it grew revenues by 12% to $5.85Bn and Net Income 33% to $543 Million.

DirecTV Q2 Press Release Here

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Cablevision Systems Corporation Reports Second Quarter 2010 Results 

Cablevision’s Q2 profits fell by 30% but its revenues were up 5.8% to $1.802 billion versus the same period a year ago, which the company says reflects solid revenue growth in Telecommunications Services and Rainbow, offset slightly by a decline at Newsday. Consolidated adjusted operating cash flow grew 9.0% to $677.6 million and consolidated operating income grew 23.0% to $416.8 million, both compared to the prior year period.

You can read the Cablevision press release here

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WSJ.com – Net Rises at Time Warner Cable, Falls at Cablevision

According to a Wall Street Journal article, Time Warner’s second-quarter earnings rose 8.2% on solid revenue growth, but the nation’s second-biggest cable-television provider saw the same weakness in subscriber additions in July felt by its larger cable counterpart, Comcast Corp.

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News Corp Reports Q4 and Full year Results – TV Station Operating Income up 13%

News Corp’s Q4 revenue increased by 6% and it hauled in Net Income of $875m.  Significantly, the company’s TV Operating Income was up 13% versus the same period last year, driven by an improved TV station advertising market.

Here’s the full News Corp press release 

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CBS 2Q TV Station Revenue Climbs 31%

According to leading industry website TV News Check, TV station revenue at CBS jumped by 31%. The company also realized a 17% increase in local broadcasting revenue (TV stations plus CBS Radio) to $678.2 million from $579.5 million in the year-ago quarter. Sumner Redstone, the company’s executive chairman called the results “Terrific”

Full story from TV News Check

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Sinclair Broadcast Group Reports Q2 Results.

Sinclair Broadcast Group, one of the largest US TV station groups reported that its net broadcast Q2 revenues from continuing operations were up 19.3% versus the prior year.  The company had net income of $17.3 million versus $2.8 million in the prior year period.  Local net broadcast revenues, which include local time sales, retransmission revenues and other broadcast revenues, were up 16.6% in the second quarter 2010 while national net broadcast revenues, which include national time sales and other national broadcast revenues, were up 27.7% versus the second quarter 2009.

Full story from TV News Check

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WSJ.com – Discovery Turns In 40% Decline in Profit 

According to an article in the Wall Street Journal, Discovery Communications posted a 40% drop in its second-quarter profit, hurt in part by costs related to its recent $3 billion debt refinancing. Still, the cable-network operator showed revenue and operating-profit growth, and announced a $1 billion share repurchasing program.

Full article from the Wall Street Journal

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Barrington Sees 14% Jump In 2Q Revenue

Barrington Broadcasting Group announced that gross revenues for the quarter ended June 30 increased 13.6% to $32.7 million from $28.8 million for the same period a year earlier. The company said the increase was primarily due to 16.7% increase in national revenues, a 4.7% increase in local revenues, and an increase in political revenues of $900,000 to $1 million.

Full Story from TV News Check

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Gray Beats Street

According to TVB, Gray Television came in ahead of analyst expectations for the second quarter. The pure-play TV group posted revenues of $75.6 million for the 36 stations, up 16 percent from a year earlier. Net income was $534,000 compared to a loss of $6.6 million a year ago. After payment of $6.4 million in dividends, net loss to common stockholders was $5.9 million, or 11 cents a share.

Full Story from TVB

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Broadcast Industry M&A Continues

Blackmagic Buys Assets of Echolab

As predicted here last month, Blackmagic Designs announced that it has acquired “all the assets of Echolab,” putting Blackmagic in the production switcher business.

Echolab was forced into liquidation a few months ago when its primary shareholder stopped funding its operations.  The company had been in business for more than 35 years, specializing in low-end production switchers.

Blackmagic is buying Echolab for the latter’s ATEM product line, which was introduced about two years ago and has been continuously upgraded since under Echolab’s former CEO Nigel Spratling, who apparently not part of the Blackmagic deal and has now joined Ross Video in a marketing role.

This is great news for the affected Echolab employees, who were left jobless in an instant when the company shut its doors in mid-May.  It’s also good news for the industry, because the ATEM switcher product line, which looks like a pretty good product, will continue to be available through Blackmagic.  In fact, Blackmagic has said that it is adding to the engineering team responsible for ATEM.

It will be interesting to see how Blackmagic approaches the production switcher market, which is different than the company’s core post production market.  The part of the production switcher market where Echolab is active has considerable competition. In addition to Echolab, Sony, Panasonic, JVC, For-A and Ross Video are all very active players in this space.   

In addition to the competitive aspects of the deal, it seems to me that selling production switchers is a bit of a departure business-wise for Blackmagic.  Production switchers are a “high-touch” product category.  They are mission critical elements of the live production workflow, and as such they can require extensive demonstrations and training.  The majority of Blackmagic’s products are plug-in cards or stand-alone units, which are sold primarily through third-party dealers.  

At this point, I am unsure whether Blackmagic’s all-dealer sales approach is a positive or a negative for Echolab.  On the plus side, the compact HD production switcher market is a large and somewhat amorphous, running the gamut from broadcasters to corporation, to churches to education –  so it requires a large dealer network, which Blackmagic already has in place.  On the other hand production switchers require a specialized sales approach. Every buyer wants a demonstration, which typically involves shipping equipment and people, thereby increasing the cost of each sale.  Blackmagic will probably have to augment their approach somewhat in order to be successful selling production switchers.

Still if they can get the distribution right, Blackmagic may have a good chance of making their purchase of Echolab a success.  Blackmagic most likely paid very little for Echolab’s assets, and since it’s buying the assets and not the company, it gets a brand new HD switcher line, but not 35 years of legacy products that need support.  And Blackmagic does have experience buying distressed “traditional” vendors and changing their approach.  Last year, Blackmagic acquired leading color grading vendor Da Vinci Systems, and proceeded to radically change Da Vinci’s market approach, not to mention its pricing, turning a $200,000 hardware product into a sub-$1000 product according to TVB Europe.

Arguably however, Da Vinci’s color grading products (which are used off-line in post production) were easier to port to software platforms – and they still require a very expensive hardware controller.  Live production switchers are a different kettle of fish than off-line color grading systems for post production.  They are the key element of any live broadcast production, and they are still a relatively expensive hardware platform that requires specialist sales and support.

Blackmagic CEO Grant Petty is obviously familiar with this.  In the company’s press release that announced the deal he said: “I have been using live production switchers since I was in school where we covered local theater, sports, racing and bands. I think it’s the most exciting way to do production because it’s all live and thousands of people are watching what you are doing! Production switchers need to be powerful while also being familiar and easy to operate.”

Petty also said that “Since the acquisition, we have already dramatically expanded the engineering team working on ATEM. This fresh engineering team, which is a combination of new as well as experienced EchoLab staff, will allow us to move faster in adding new features to the ATEM product.”

Blackmagic will be displaying the ATEM on its booth at the IBC show next month. 

Here is a link to the full press release announcing the deal.

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Transcoding Consolidation — Telestream to Acquire Anystream

Over at his always informative Business of Video blog, Streaming Media’s Dan Rayburn writes that Telestream is to Acquire fellow transcoding provider Anystream from parent Gab Networks.  This is a deal has long been rumored, and according to Rayburn has now been confirmed by the management of both companies.

There’s been quite a lot of activity in the transcoding space recently.  Ripcode was sold to RGB networks and Elemental Technologies announced other week that it had raised $7.5m of new venture money, bringing its total to $14m

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Other Broadcast Technology Vendor News

Chyron Appoints New Chief Commercial Officer 

Chyron has appointed Susan Brazer as its new Chief Commercial Officer.  According to the company’s press release, Brazer has a big job, taking responsibility for “commercial strategy and all product and services revenues, directing its worldwide sales network of direct sales, resellers/systems integrators and joint ventures in Europe, Asia, Latin America and the Middle East.”

This is the second C-Level appointment recently.  The company previously announced that it had appointed Bonnie Barclay as VP and Chief Marketing Officer.

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New COO at Vizrt

Vizrt has appointed François Laborie as its new Chief Commercial Officer. Laborie replaces David Zerah who left Vizrt to become managing director of gaming firm Dragonfish.

Laborie joined Vizrt at the beginning of 2006 as the Company’s Executive Vice President Marketing. At the beginning of 2010, he took on the additional role of Regional President for the EMEA region.

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3D News

Technicolor announced this week that it has now installed its 3D system at 250 screens – good progress, but far less than clear leader RealD’s 7,500.

 

Mobile TV News

 According to an article in TVB,  Broadcast and WiFi Take Wind Out of FLO TV Sales 

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Other News

The Financial Times reports that News Corp has refused to refuses to raise its offer for BSkyB 

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Also in the FT, the BBC is under fire over Canvas project 

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Market Research Note of the Week:

Who are the Most Important Decision Makers in Broadcast Technology?  Vendors Predict Shift Towards Operations and IT

In a recent article, “Broadcast Industry’s Largest Market Study Reveals Most Important Technology Trends,” the move toward file-based, tapeless workflows was highlighted as one of the most important issues to broadcasters today.

But how will this shift affect how broadcast technology products are purchased, not to mention who buys them? Traditionally, these products have been purchased primarily by engineers. Will this be the same for products that are increasingly IT-based, or will there be a new set of buyers? Broadcast vendors need to know this because a new set of buyers may require a new market approach.

To find out, we asked the nearly 800 broadcast technology vendors who responded to the 2010 Big Broadcast Survey who they feel is currently the most important decision maker in the sales process, and who they feel will be most important in two to three years.

Let’s start with the most important buyers today. Respondents were asked, “When selling your products/services, which category of customer is typically the most important decision maker today?” According to responses, broadcast tech vendors see engineering staff as their most important customers, followed by operations, IT and finance personnel. Engineers are clearly seen as the most important decision makers, with operations staff a distant second.

But what about the future?

To read the full article, including four charts that break down the results, click here.

How do broadcast technology buyers typically purchase — direct from vendors, through an SI or a dealer?

Broadcast technology channel strategy, market research | Posted by Joe Zaller
Jul 06 2009

It’s a big world and in a global industry like broadcast technology hardware and software, even the largest vendors must rely on a mix of direct and indirect sales channels.  

As part of the 2009 Big Broadcast Survey, I asked technology purchasers how they typically buy broadcast technology hardware and software — direct from a vendor, or through a third-party channel like a systems integrator (SI) or dealer. 

The results are interesting because they highlight that there are some times when it makes more sense for vendors to use a channel than go direct.  They also show that there are some types of buyers who are more used to buying through the channel versus direct.

It turns out that overall, about 2/3 of customers purchase through a third-party supplier (dealer or SI), with the rest buying directly from the vendor.

However, when you break the results down by the type of customer (as I have done in the chart below),  you quickly see that there are differences between the typical purchasing habits of various customer types, and this information has important implications for vendors.

Question: How do you typically purchase broadcast technology products?

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Out of six different customer types, only “cable/satellite/IPTV operators” (companies like DirectTV, Sky, Comcast etc) and  ”cable programmers” (companies like Discovery and HBO) typically buy more than 50% directly from vendors.  Perhaps this is because there are not that many of these customers, and they tend to be large. 

These customers also appear to rely heavily on systems integrators to plan and impliment their projects.   Many of these projects are large end up being “all or nothing” for vendors, so they are clearly paying special attention to these customers, and fighting for the business.

At the other end of the spectrum, customers in post production, government and education typically buy through  a dealer.  There are probably a variety of reasons for this:

  • In post production there are specialized local dealers who have both in-depth knowledge of the market and deep relationships with this (relatively small) customer base.  For many vendors, it makes sense to sell through these dealers rather than pay for a dedicated sales effort.  The downside of this is that it concentrates the power with dealers since they “own” the relationship with the customer base, increasing the risk of substitution.
  • Government is another category that requires strong relationships, and in some cases specialist credentials such security clearance and/or extensive operational experience.  Selling to the government (at least at the national level) can be lucrative for vendors, but it can also take major effort to break into this market.  At the local government level (e.g. every town hall in a country), the market is enormous but very disparate, and therefore often left to local resellers. In aggregate this is a large market, but most vendors are not geared up to go after it direct.
  • Education is arguably the largest market of all — after all there are many more schools than broadcasters and/or town halls — and yet only 20% of these customers typically buy broadcast technology hardware and software direct from vendors.  it’s likely that because of the size, not to mention huge diversity, of this customer base that a specialist dealer with deep relationships at the local level will always be best positioned to win this business.

 

This leave “broadcasters / TV station” customers in the middle of the pack.  There are likely a variety of reasons for this.  For example, this is broad category that encompasses state / national broadcasters as well as local players.  Vendors with limited resources (e.g. just about all of them) who are after large sales will tend to concentrate their efforts on the biggest part of the market (in value terms) and leave the rest to dealers.  Also there are certain regions (like parts of Asia and South America) where the most efficient way to sell (even to the largest broadcasters) is through third party distribution.

I should point out that this question does not ask about the value of product purchased from each category, but if I did I think that it would further highlight the important role of systems integrators and consultants.    As customers look to cut cost they often eliminate technical staff positions, effectively outsourcing their technical design and installation to third party consultants — systems integrators in particular.  SIs were found to play a strong role in all categories — and particularly in those which tend to have large, complex projects.  After all, if a broadcaster is buying a replacement part for an existing system it’s easy to go to a dealer; but if they are building a disaster recovery facility as part of a major strategic initiative, they are likely to go with an SI.

These finding highlight that it’s important for suppliers to tailor their approach to different markets and customer types.  It also demonstrates that the third-party distribution channels are a crucial part of their business, because they account for a significant portion of the market access that all vendors need to survive and thrive.