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Social and Digital Entertainment Market and Forecast Analysis 2013 - 2018

The digital entertainment market is experiencing growing pains within the era of the multiscreen (TV, phone, tablet, PC, and more) environment. The ecosystem is expected to experience massive disruption with the evolution of social networking and the convergent usage of the so-called “Second Screen” devices including smartphones, tablet, phablet, netbook, laptop and other devices. Mind Commerce anticipates localization and other personalization methods on Second Screen applications and services as well as innovative OTT business models.

Social and Digital Entertainment Market and Forecast Analysis 2013 - 2018 analyzes the digital entertainment ecosystem and the profound impact of social networking including evaluation of the multiscreen role in business strategy. The report analyzes the market approach of ecosystem players with case study analysis. The report provides revenue forecasting analysis globally as well as regional and by country. The report also provides quantitative analysis of user engagement and interaction.

Target Audience:

  • Social networking companies
  • Media companies and portals
  • Advertising agencies and brands
  • Consumer electronics companies
  • Gaming and gamification companies
  • Content Delivery Network (CDN) companies
  • Network operators and service providers of all types
  • Personalization, identity, and preference control companies
Companies in Report:

Facebook, Twitter, Tumblr, Google, Adobe, Akamai, Alcatel Lucent, Best Buy, Sky Broadcasting, British Telecom, Cisco, Fox Entertainment, Fujitsu, HP, Huawei, IBM, Intel, LG, Liberty, Microsoft, Motorola, NBC Universal, Netflix, Neustar, Panasonic, Paramount Pictures, Samsung, Sony, VeriSign, Warner Bros Entertainment, Walt Disney, Time Warner, Apple, Amazon, Verizon, AT&T, Accenture, Pinterest, NOKIA, Hollywood UltraViolet, Spotify, Rdio, Rhapsody, MOG, 6Waves, BBC, Hungama.com, Box, NetSuite, Salesforce, Xbox, Nintendo, HMV, Pokemon, McDonald, NTT DoCoMo, KDDI, NBA China, We7, Deezer, Vodafone, O2 Germany, HTC, DECE LLC, Arxan Technologies, BluFocus, CableLabs, castLabs, Catch Media, Cineplex Entertainment, Comcast, Cox Communications, CSG Systems, Deluxe Digital, Dolby, DTS (sound system), Elemental Technologies, Empathy Lab, Fanhattan, FilmFlex, Irdeto, Kaleidescape, Lionsgate, LOVEFiLM, Marvell, MOD Systems, Nagravision, NDS, Ooyala, PacketVideo, Royal Philips Electronics, QuickPlay Media, RIAA, Red Bee Media, Rovi Corporation, Saffron Digital, SeaChange International, Sonic Solutions, Switch Communications, Technicolor, Tesco, Testronic Labs, Toshiba, Verance, Verimatrix, Widevine Technologies, Zoran, Top Gear, Jelli, DreamWorks, Proctor & Gamble, Random House, TaylorMade, Jive, LIFO Interactive, Transmension, UUCun (China), Yu-Gi-Oh, Nippon Rental Cars, Japan Airlines, Miaozhen Systems, IFPI, Zavvi, Woolworths, Borders, , Musicload, AOL, Musik, Saturn, Media Markt, ECO, Mondia Media

Selected Findings:
  • Video is the most consuming & revenue generating segments
  • North America is the top revenue contributor among regions and USA among countries
  • Most user interaction and engagement including social will occur on Second Screen Space
  • Social and digital entertainment users is predicted to reach 2.4 billion by 2018 with 7.9% CAGR
  • Digital entertainment revenue including social driven is expected to grow 10.06% CAGR reaching US$ 850 billion by 2018


General Methodology

Mind Commerce Publishing's research methodology encompasses input from a wide variety of sources.

We rely heavily upon our Subject Matter Experts (SME) in terms of their market knowledge, unique perspective, and vision. We utilize SME industry contacts as well as previous customers and participants in our market surveys and interactive interviews.

In addition, we rely upon our extensive internal database, which contains modeling, qualitative analysis, and quantitative data. We review secondary sources and compare to our primary sources to update previous findings (for prior version reports) and/or compile baseline information for technology and market modeling.

We share preliminary models with industry contacts (select previous clients, experts, and thought leaders) to verify the veracity of initial modeling. Prior to final report production (analysis, findings, and conclusions), we engage in an internal review with internal SMEs as well as cross-expertise, senior staff members to challenge results.

We believe that forecasts should be prepared as part of an integrated process which involves both quantitative as well as qualitative factors. We follow the following 3-step process for forecasting.

Forecasting Methodology

Step 1 - Forecasts Input: The inputs for the present and historical revenues are derived from industry players. Financial and other quantitative data for individual sub-market categories are derived from original research and tested with interviews with major industry constituents.

Step 2 - Forecasting of Future Years: Mind Commerce extends forecasts based on a variety of factors including demand drivers as well as supply side data. Key success factors and assumptions are considered.

Step 3 - Validation of Data: The final step is to validate projections, which is accomplished in consultation with both internal and external industry experts, including both topic and regional experts. Adjustments are made to the forecasts based on factors identified throughout this process.


1.0 Social Networking & Digital Entertainment
2.0 Digital Entertainment Ecosystem Analysis In Social Era
3.0 Digital Entertainment Revenue & Forecast 2013 – 2018
3.1 Global Digital Entertainment Revenue Forecast
3.2 Social Driven Entertainment Revenue Vs. Global Digital Entertainment Revenue
3.3 Digital Entertainment Platform Contribution In Digital Advertising Services Revenue
3.4 Revenue Breakdown: Music Vs. Gaming Vs. Movies Vs. Video Vs. User Generated Content
3.5 Revenue Breakdown By 5 Screen Content Delivery Platform
3.6 Regional Breakdown: Americas Vs. Emea Vs. Apac
3.7 Breakdown By Country: Top 10 Countries
3.8 Mobile Broadband As A Component Of Global Digital Entertainment Revenue
4.0 Digital Entertainment User Prediction 2013 – 2018
4.1 Global Unique Digital Entertainment Users
4.2 Social User In The Digital Entertainment Ecosystem
4.3 Global Unique Users: Music Vs. Gaming Vs. Movies Vs. Video Vs. User Generated Content
4.4 Global Unique User Breakdown In 5 Screen Consuming Platforms
4.5 Regional Unique User Breakdown: Americas Vs. Emea Vs. Apac
4.6 Country Wise Unique User: Top 10 Countries
4.7 Mobile Broadband User Among Global Digital Entertainment Users
5.0 Social & Digital Entertainment User Behavior Analysis
5.1 Social Entertainment Behavior & Key Findings
5.1.1 Interaction On Personal Computer
5.1.2 Interaction On Smartphones
5.1.3 Tablets Interaction
5.1.4 Console Interaction
5.1.5 Tv Interaction
5.2 User Preference Over Second Screen Delivery Platform
5.2.1 Aggregated Time Spent Of Users On Activities While Sequentially Screening Devices
5.2.2 Breakdown Of The Aggregate Time Spent Sequentially On Smartohone, Pc & Tablet
5.2.3 Breakdown Of The Aggregate Time Spent Sequentially On Tablet, Smartohone, & Pc
5.2.4 Average Minutes Spent Vs. Interaction Breakdown By Users Over 5 Screen Platform
5.2.5 Platform Wise Interaction Location Preference
5.3 Social Engagement & Business Opportunities
5.3.1 Social Response/Engagement Rate By Pc Vs. Smartphone Vs. Tv Vs. Tablet Vs. Console
5.3.2 Lead Generation Percentage By 5 Screen Platform Vs. Average
5.3.3 Analysis Of Lead Generation And Location Preference
6.0 Digital Entertainment Content Ecosystem And Industry Initiatives
6.1 Hollywood Ultraviolet Cloud Case
7.0 Mobile Network Operators (Mnos) In Digital Entertainment Market
7.1 Market Considerations For Mnos
7.2 Industry Challenges For Mnos
7.3 Vendor Led Solution: Accenture Digital Entertainment Solution (Des) Case
7.3.1 Creating Distinctive Media Experience
7.3.2 Des Architecture: Supply Chain, Content Management & Digital Distribution
7.4 Connected Home Segment: Integrated Entertainment And Gamification
8.0 Consumer Electronics Company In Digital Entertainment
8.1 Nokia Music+ Strategy
8.2 Sony’s Consumer Experience Strategy
8.2.1 Smartphones
8.2.2 One-touch Function:
8.2.3 4k
8.2.4 Televisions With Enhanced Usability And Connectivity
8.2.5 Triluminos Display
8.2.6 Digital Imaging Products
8.3 Consumer Internet Company Google Delivering Movie
9.0 Brands Distinctive Approach With Digital Entertainment & Involvement Of Social Networking Company
9.1 Bbc Partnership With 6waves
9.2 Branded Gaming
10.0 Select Industry Players
10.1 Hungama.Com
10.2 Box
10.3 Jelli
10.4 Lifo Interactive
10.5 Transmension
10.6 Uucun (China)
11.0 Case Study Analysis
11.1 Uk Analysis
11.1.1 Hmv
11.2 Japan Vs. Usa Analysis
11.2.1 The Battle For The Global Entertainment Industry
11.2.2 Digital Entertainment Economy: A Solution For Recession
11.2.3 Components Of The New Digital Industry
11.2.4 Films And Video In Us Vs. Japan
11.2.5 Two Sides Of Intellectual Property Rights
11.2.6 Computer Games, Yu-gi-oh, And Cell Phones
11.2.7 Cultural Strength
11.3 China Analysis
11.3.1 Nba - Digital Entertainment Model
11.4 India Analysis
11.5 Germany Analysis
11.5.1 Demand For Physical
11.5.2 Digital Market Peneration
11.5.3 Domestic Repertoire
11.5.4 Performing Rights
11.5.5 New Forum Entertainment Competence Group
11.5.6 Partnership Of Mondia Media With O2 Germany
12.0 Recommendations For Ecosystem Players
12.1 Key Consideration For Industry Player
12.2 Cross-platform Strategy For Market Player
Graphs
Figure 1: Global Digital Entertainment Revenue Forecast 2013 -2018
Figure 2: Social Driven Portion among total Global Entertainment Revenue 2013-2018
Figure 3: Digital entertainment platform’s contribution to DAS Revenue 2013-2018
Figure 4: Revenue Generation % of Music vs. Game vs. Movie vs. Video vs. UGC
Figure 5: Contribution of 5 screen platform (content delivery) to Global Revenue
Figure 6: North America vs. Latin America vs. EMEA vs. APAC Digital Entertainment Revenue in US$ billion 2013 – 2018
Figure 7: Top 10 Countries Digital Entertainment Revenue in US$ billion 2013 – 2018
Figure 8: Contribution of mobile broadband among global digital entertainment revenue 2013 – 2018
Figure 9: Global Unique Digital Entertainment User Prediction 2013 – 2018
Figure 10: Social users in digital entertainment ecosystem 2013 - 2018
Figure 11: Unique User % in Music vs. Game vs. Movie vs. Video vs. UGC
Figure 12: Unique user % of global users in 5 screen platform (content consumption)
Figure 13: North America vs. Latin America vs. EMEA vs. APAC Digital Entertainment Users in million 2013 – 2018
Figure 14: Top 10 Countries Unique Digital Entertainment Users in million 2013 – 2018
Figure 15: Mobile broadband users among global digital entertainment users 2013 – 2018
Figure 16: Aggregated Time spent % of Users on Activities while Sequentially Screening Devices
Figure 17: Breakdown of Aggregated time spent % by User Sequentially on Smartphone, PC & Tablet
Figure 18: Breakdown of Aggregated time spent % by User Sequentially on Tablet, Smartphone, & PC
Figure 19: Interaction Location Preference % by User on 5 Screen Platforms
Figure 20: Unaided Recall vs. excitement vs. attention vs. clutter ratio by 5 screen platform
Figure 21: Average vs. 5 screen platform wise generated attention values among users
Figure 22: DES Architecture: Supply Chain, Content Management & Digital Distribution
Figure 23: US Connected Home Users Percent on Device / Medium
Figure 24: Screenshot of Top Gear: Stunt School Revolution, Branded gaming App
Figure 25: India Entertainment & Media Market Projection 2015
Figure 26: Entertainment Segment Wise Break-up 2015

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