1、Media nations:UK 2019Published 7 August 2019 1 Overview This is Ofcoms second annual Media Nations report.It reviews key trends in the television and online video sectors as well as the radio and other audio sectors.Accompanying this narrative report is an interactive report which includes an extens
2、ive range of data.There are also separate reports for Northern Ireland,Scotland and Wales.The Media Nations report is a reference publication for industry,policy makers,academics and consumers.This years publication is particularly important as it provides evidence to inform discussions around the f
3、uture of public service broadcasting,supporting the nationwide forum which Ofcom launched in July 2019:Small Screen:Big Debate.We publish this report to support our regulatory goal to research markets and to remain at the forefront of technological understanding.It addresses the requirement to under
4、take and make public our consumer research(as set out in Sections 14 and 15 of the Communications Act 2003).It also meets the requirements on Ofcom under Section 358 of the Communications Act 2003 to publish an annual factual and statistical report on the TV and radio sector.This year we have struct
5、ured the findings into four chapters.The total video chapter looks at trends across all types of video including traditional broadcast TV,video-on-demand services and online video.In the second chapter,we take a deeper look at public service broadcasting and some wider aspects of broadcast TV.The th
6、ird chapter is about online video.This is where we examine in greater depth subscription video on demand and YouTube.In the last chapter we tune into radio and put it in the context of other audio services,including podcasts and music streaming services.2 Contents Overview.1 Executive summary.3 Tota
7、l video and broadcast TV.3 Radio and audio.8 Total video.11 Introduction.11 Platform and device ownership.12 Viewing.15 Revenue.25 Broadcast TV and PSB.28 Introduction.28 Viewing of broadcast TV.29 Audience attitudes and sentiment.34 Broadcast revenues,content output and spend.43 Co-productions and
8、the impact on genres.54 Online video.59 Video on demand(VoD).59 YouTube.70 Awareness of online audio-visual regulation and levels of offence.76 Radio and audio.78 Introduction.78 Radio and audio listening.80 The UK radio industry.89 Developments in digital radio.92 Audio on demand:music streaming.96
9、 Audio on demand:the rise of podcasts.99 3 Classification:HIGHLY SENSITIVE Executive summary Total video and broadcast TV The pace of change in television raises questions about how UK viewers will be served in the future Online content delivery and the emergence of global video providers,notably Ne
10、tflix and YouTube,are driving fundamental shifts in viewing habits and industry structures.The internet is massively increasing the choice available to UK viewers.More than half of UK households now have their TV connected to the internet and eight in ten adults have a smartphone,which they are incr
11、easingly using to watch video.Around half of UK households now subscribe to at least one subscription video-on-demand(SVoD)service(such as Netflix or Amazon Prime Video)and UK adults watch,on average,about half an hour of YouTube per day.Broadcast television,and public service broadcasting in partic
12、ular,remains valued and accounts for the majority of peoples viewing,but its use is falling as viewers take up online services.People watched on average 3 hours 12 minutes of broadcast television in 2018,but this was 49 minutes less than in 2012,and the fall in younger viewers has been much steeper.
13、Four in ten viewers now say that online video services are their main way of watching television and film.Our data provides an evidence base to underpin a national debate about the future of Public Service Broadcasting(PSB).In July 2019,we launched a nationwide forum,Small Screen:Big Debate.This wil
14、l involve discussions with broadcasters,production companies,government,industry bodies,viewers groups and national and regional representatives on sustaining public service broadcasting(PSB)in future.It will look at where PSB content should be available,who should provide it,and how to guarantee a
15、mix of high-quality UK content online.4 Viewer behaviour continues to shift towards alternatives to broadcast TV,in particular online video services Broadcast still accounts for the majority of viewing,but the decline in viewing is accelerating.Broadcast content accounted for 69%of the average five
16、hours of watching video per person per day in 2018(but only 56%of the five hours was live TV).People watched an average of 3 hours 12 minutes of broadcast television a day,11 minutes less than in 2017(which was down by 9 minutes since 2016).The shift is most pronounced among young people:16-24s watc
17、hed an average of 85 minutes of broadcast television a day in 2018 15 minutes less than in 2017.Average daily minutes viewed per person,by age Source:BARB.Since 2017 viewing by all people of subscription video on demand(SVoD)(+7mins)and YouTube content(+6 mins)has grown.The four and a half hours of
18、total video content watched by 16-34s includes three main components:Live TV(83 mins);YouTube(64 mins)and SVoD(52 mins).For the youngest adults(aged 16-24),the most-watched platform is YouTube(73 mins).Average minutesof viewing per day33834934233331127726921624219223415619912216985151772010201120122
19、0132014201520162017201875+65-7455-6445-54All individuals(4+)35-4425-3416-24Children(4-15)5 Total video minutes per person per day,adults 16-34,all devices:2018 Source:Ofcom total AV modelling using BARB,TouchPoints and Comscore data.Viewers are broadly satisfied with the quality of broadcast TV,but
20、increasingly see video on demand as the main way to watch TV and film.The fall in broadcast viewing does not appear to be caused by negative sentiment towards broadcast TV.More than half of adults feel the quality of broadcast TV programmes has remained the same over the past year,and a further 21%t
21、hink it has improved.But 42%of adults consider online video services to be their main way of watching TV and film,and 38%of SVoD users can imagine not watching broadcast TV at all in five years time.YouTube is a major part of total video viewing and total online time.Twelve per cent of all time spen
22、t watching video,and 13%of all time spent online by adults,is spent on YouTube.Young adults(16-34s)spend over an hour on YouTube per day,and almost all adult internet users watch YouTube videos.Whereas most viewing of SVoD is on television sets,a smartphone is the most commonly used device for watch
23、ing YouTube.There are considerably more SVoD subscriptions than pay-TV subscriptions.Subscriptions to traditional pay-TV services(such as Sky,Virgin Media,BT and TalkTalk)totalled 14.3 million in Q1 2019,whereas the total number of subscriptions to Netflix,Amazon Prime Video,NOW TV and Disney Life r
24、eached 19.1 million(up from 15.4 million in Q1 2018).This is in part because many households take more than one SVoD subscription.6 Public service broadcasters remain the home of mass-reach UK-made programming Despite a fall in viewing,PSBs maintain their share of broadcast TV,and audience satisfact
25、ion remains high.The five main PSBs alone maintained a share of 52%in 2018 compared to 51%in 2017.Although audience satisfaction has fallen gradually from 80%in 2014,74%of PSB viewers still claim to be satisfied with PSB broadcasting.PSBs are still important in meeting viewers desire for UK content.
26、UK audiences want original,UK-produced and UK-specific programmes.The PSBs delivered over 32,000 hours of UK-made original content across their channels in 2018.In comparison,the vast majority of SVoD programmes are US-made productions,designed to play out in multiple countries:only 221 hours of the
27、 SVoD original productions available in 2018 were made in the UK.PSB UK-made drama still resonates with audiences,with Line of Duty the most-watched programme in 2019 so far with 12.1 million viewing the final episode.Bodyguard was the most-watched drama in 2018,with 14.3 million viewers for its fin
28、al episode.However,a few popular drama and entertainment programmes are not enough on their own to stem the overall decline in broadcast TV viewing.To counteract the overall drop in broadcast viewing since 2017,about 34 additional series of Bodyguard would need to have been broadcast in 2018.Similar
29、ly,although ITV2s Love Island gained large audiences in June and July 2018,about 14 Love Islands would be required to counteract the year-on-year drop in broadcast viewing.Broadcasters are adapting to changing viewing behaviours and to attract younger viewers who are using SVoD.All episodes of serie
30、s 1(2018)and series 2(2019)of the BBCs Killing Eve were made available as a box set on BBC iPlayer immediately after the broadcast of the first episode.Some 4.6 million people watched the final episode of series 1 online pre-broadcast compared to 3.3 million who watched the episode live or time-shif
31、ted.Other programmes are succeeding by gaining viewers on other devices and by integrating broadcast content with social media.One episode of ITV2s Love Island in 2018 achieved an increase of 24%on its TV set audience with viewers watching on PCs/laptops,tablets and smartphones,bringing its total to
32、 4.9 million viewers.But broadcaster-on-demand services(BVoD)are lagging behind SVoD.BVoD services(including iPlayer,ITV Hub,All4 and My5)remained at a similar overall level of viewing in 2018 compared to 2017;people in the UK are watching on average around 8 minutes of BVoD a day compared to 26 min
33、utes of SVoD.However,viewers still watch a lot of recorded broadcast content(mainly via a personal video recorder(PVR):30 minutes a day on average.7 PSB revenues are under pressure,but content investment has been buoyed by third-party funding Spend on UK-made original content was 5%(143m)lower in 20
34、18 than in 2016.2018 was a big year for televised sport events,including the FIFA World Cup and the Winter Olympics,so 2016 is the best year for comparison.PSB spend is coming under pressure due to falling advertising revenues for the commercial PSBs and a 3.6%(140m)fall in the BBCs licence fee reve
35、nues(partly due to the Governments phased reduction of funding for free TV licences for the over-75s).PSB network spend on first-run UK originations,by channel(m)Source:Ofcom/broadcasters Note:figures are expressed in real terms.BBC portfolio figures include BBC Three,BBC Four,CBBC,CBeebies,BBC News
36、,and BBC Parliament.Figures do not include S4C,BBC Alba,BBC HD,nations/regions programming,and third-party spend.The PSBs are finding new ways of financing content,including through co-productions and third-party funding for high-end drama.The reduction in PSB network spend has been offset by the in
37、crease in third-party funding for programming,including deficit funding,and co-productions.PSBs have also been collaborating with global SVoD players.Contributions to the cost of PSB UK original productions from third parties has more than doubled over ten years.PSB drama programming received 68%of
38、the total third-party investment in 2018.8 Radio and audio Radio listening and revenues are holding up Live radio remains popular,with listening to UK-wide commercial stations particularly strong.In Q1 2019,89%of UK adults listened to at least five minutes of live radio each week.This varies by age:
39、90%of over-64s listened each week compared to only 80%of 15-24s(down from 88%ten years ago).Commercial radio revenues remained resilient in 2018.Total revenues remained the same year on year,as increases in both national advertising and sponsorship offset a fall in reported local advertising revenue
40、s.Commercial radio revenues(m)Source:Ofcom/broadcaster returns.2017 data includes restatements.Adjusted for CPI at 2018 prices.Digital radio continues to grow Digital listening continues to grow,with online an increasingly important factor.The overall digital share of listening across the UK continu
41、es to grow and now stands at 56%in Q1 2019,up from 53%in Q4 2018.This includes digital audio broadcasting(DAB),online and TV set listening.DAB remains the most commonly used digital radio platform,but popularity of smart speakers is growing rapidly.The proportion of adults with a DAB set grew to 67%
42、in Q1 2019 from 64%in Q1 2018.Listening via a mobile phone has also fallen.The largest growth is in listening online,perhaps driven by the increased take-up of smart speakers listening to the radio on a smart speaker increased from 10%of adults in 2018 to 19%in 2019.276283289294301144140142143129100
43、101107103107222627303420142015201620172018National commercialLocal commercialCommercial sponsorshipOther542549565571572 9 DAB digital radio coverage continues to increase.Following the build-out of the Sound Digital multiplex,digital radio can now be received by 83%of households and offers 73%covera
44、ge on major roads around the UK.The total number of services carried across local DAB multiplexes increased by 39 to 447 by the end of March 2019.But there are challenges for radio to focus on,with young people spending more time listening to online music streaming services Local radio has gradually
45、 been losing out to UK-wide radio In Q1 2019 just over half of adults(54%compared to 59%five years ago)listen to local radio and 73%(70%five years ago)listen to national output.Local commercial radio stations are spread across the age spectrum and BBC local services largely have older listeners.List
46、eners have more choice of content and access,and young people in particular are spending more time listening to online services.Almost three-quarters of adult weekly listening is to radio(live,on-demand or radio podcasts).However,41%of young peoples audio time is spent on music streaming services an
47、d less than a third of their time is spent listening to radio.Weekly share of audio listening Source:TouchPoints 2018.Podcasts represent only a small share of listening but are increasingly popular.One in eight adults now listen to podcasts each week.The average age of a weekly podcast listener is 3
48、9,around ten years younger than a typical radio listener.YouTube is the platform most used to access podcasts among weekly listeners;these are video podcasts and are particularly popular among the 35-54 age group.The most used audio-only service for weekly podcast listeners is BBC iPlayer Radio and
49、is particularly popular among older podcast listeners.However,for younger podcast listeners,Spotify and Apple are more likely to be used than individual BBC services.67%28%4%3%1%1%1%0%12%41%6%10%3%8%3%3%1%1%3%5%Adults 15+Age 15-24Live Radio On A Radio SetLive Radio On A Laptop,Tablet,Mobile,etc.(Not
50、 A Radio Set,Car Radio Or TV Set)On Demand/Listen Again Radio ProgrammesRadio Podcasts/DownloadsStreamed Online Music e.g.Spotify,last.fmYour Own Personal Digital Music Or Audio Collection-Stored On A DeviceMusic Video Channels/Sites For Background Listening e.g.Youtube,MTVYour Own Personal Collecti
