Apple users take a trillion photos a year. Peak for film was around 80bn, in 1999— Benedict Evans (@BenedictEvans) June 5, 2017
Source: Stat announced at Apple's WWDC, June 2017
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4 months ago
Thursday, 15 June 2017
Apple users take a trillion photos a year
Source: Stat announced at Apple's WWDC, June 2017
Thursday, 1 June 2017
Mary Meeker's 2017 Internet Trends
It's always good, but this year Mary Meeker of Kleiner Perkins has really excelled herself
A quick key:
1) Global Internet Trends = Solid…Slowing Smartphone Growth 4-9
2) Online Advertising (+ Commerce) = Increasingly Measurable + Actionable 10-80
3) Interactive Games = Motherlode of Tech Product Innovation + Modern Learning 80-150
4) Media = Distribution Disruption @ Torrid Pace 151-177
5) The Cloud = Accelerating Change Across Enterprises 178-192
6) China Internet = Golden Age of Entertainment + Transportation 193-231
(Provided by Hillhouse Capital)
7) India Internet = Competition Continues to Intensify…Consumers Winning 232-287
8) Healthcare @ Digital Inflection Point 288-319
9) Global Public / Private Internet Companies… 320-333
10) Some Macro Thoughts… 334-351
11) Closing Thoughts… 352-353
A quick key:
1) Global Internet Trends = Solid…Slowing Smartphone Growth 4-9
2) Online Advertising (+ Commerce) = Increasingly Measurable + Actionable 10-80
3) Interactive Games = Motherlode of Tech Product Innovation + Modern Learning 80-150
4) Media = Distribution Disruption @ Torrid Pace 151-177
5) The Cloud = Accelerating Change Across Enterprises 178-192
6) China Internet = Golden Age of Entertainment + Transportation 193-231
(Provided by Hillhouse Capital)
7) India Internet = Competition Continues to Intensify…Consumers Winning 232-287
8) Healthcare @ Digital Inflection Point 288-319
9) Global Public / Private Internet Companies… 320-333
10) Some Macro Thoughts… 334-351
11) Closing Thoughts… 352-353
Wednesday, 31 May 2017
The iPhone has a 92% loyalty rate in the US
iPhone has a 92% loyalty rate in the U.S. according to Morgan Stanley. Samsung loyalty stood at 77%, LG at 59%, and Motorola at 56%. pic.twitter.com/vlPkumW1fa— Neil Cybart (@neilcybart) May 23, 2017
Tuesday, 30 May 2017
66 App Publishers had their first $1m year on Apple's App Store in 2016
"When it comes to building a successful business, Sensor Tower’s Store Intelligence data reveals that more app publishers are achieving an important milestone on Apple’s App Store than on Google Play. Based on our analysis of in-app revenue—not inclusive of advertising revenue—nearly double the number of publishers made their first $1 million in annual revenue last year on the U.S. App Store compared to Google Play. In all, 66 publishers met or surpassed this benchmark figure on Apple’s store in 2016, which was 1.7 times more than the 39 that managed the same degree of success on Google’s platform."
Source: Sensor Tower Blog, 24th May 2017
The Grand Tour was the most sought after VOD programme in Q1 2017
"A non-Netflix show – The Grand Tour – was the most sought-after digital video-on-demand title available globally for the first time in the quarter to March, according to the latest Global On Demand Report from Parrot Analytics.
Parrot Analytics analyses the demand for 30 recent popular US digital titles across 10 markets, based on the application of artificial intelligence to expressions of demand across social media, fan sites, peer-to-peer protocols and file-sharing platforms.
According to Parrot, the top shows in the US in the three months to March were Stranger Things, with 10.5 million average ‘demand expressions’ and The OA, with 9.1 million – both from Netflix. Amazon’s The Grand Tour and The Man in the High Castle came third and fourth, followed by Netflix’s Marvel’s Luke Cage.
Overall, 16 of the top 30 titles came from Netflix, while Amazon accounted for seven and Hulu for four. Crackle (Comedians in Cars Getting Coffee) and Seeso (Bajillion Dollar Propertie$) had one title each near in the top 30 list. Stranger Things enjoyed a 257% spike in popularity after the release date for Season 2 was announced during the Super Bowl.
In the UK, The Grand Tour, which topped the list in five of the 10 markets studied, led the way with 6.3 million expressions of demand, followed some way behind by Stranger Things with just over 2.6 million and The Man in the High Castle, also with 2.6 million.
The OA and The Crown made up the top five. The Grand Tour aside, the list was largely dominated by Netflix, followed by Amazon, a pattern that was repeated in Australia, where The Grand Tour topped the list, with Netflix occupying the remaining four of the top five slots."
Parrot Analytics analyses the demand for 30 recent popular US digital titles across 10 markets, based on the application of artificial intelligence to expressions of demand across social media, fan sites, peer-to-peer protocols and file-sharing platforms.
According to Parrot, the top shows in the US in the three months to March were Stranger Things, with 10.5 million average ‘demand expressions’ and The OA, with 9.1 million – both from Netflix. Amazon’s The Grand Tour and The Man in the High Castle came third and fourth, followed by Netflix’s Marvel’s Luke Cage.
Overall, 16 of the top 30 titles came from Netflix, while Amazon accounted for seven and Hulu for four. Crackle (Comedians in Cars Getting Coffee) and Seeso (Bajillion Dollar Propertie$) had one title each near in the top 30 list. Stranger Things enjoyed a 257% spike in popularity after the release date for Season 2 was announced during the Super Bowl.
In the UK, The Grand Tour, which topped the list in five of the 10 markets studied, led the way with 6.3 million expressions of demand, followed some way behind by Stranger Things with just over 2.6 million and The Man in the High Castle, also with 2.6 million.
The OA and The Crown made up the top five. The Grand Tour aside, the list was largely dominated by Netflix, followed by Amazon, a pattern that was repeated in Australia, where The Grand Tour topped the list, with Netflix occupying the remaining four of the top five slots."
Source: Digital TV Europe, 16th May 2017
Android has more than 2bn active monthly users
"Onstage at Google I/O in Mountain View, CEO Sundar Pichai announced that earlier this week the company surpassed 2 billion monthly active users on the Android platform, continuing its reign as the world’s most popular mobile operating system.
The company has added nearly 400 million users to its mobile operating system since September of 2015 when it last gave an update. By comparison, Apple announced in January of last year that there are 1 billion devices running iOS.
Pichai also detailed that the company has quickly grown its Google Photos platform. Google has been tweaking the service constantly, and is continuing to see some major traffic on the platform. The product now has over 500 million monthly active users that upload 1.2 billion photos onto the service every day.
A lot of numbers are being voiced in the billions today, Google currently has seven unique products with over one billion monthly active users each."
Source: TechCrunch, 17thMay 2017
The company has added nearly 400 million users to its mobile operating system since September of 2015 when it last gave an update. By comparison, Apple announced in January of last year that there are 1 billion devices running iOS.
Pichai also detailed that the company has quickly grown its Google Photos platform. Google has been tweaking the service constantly, and is continuing to see some major traffic on the platform. The product now has over 500 million monthly active users that upload 1.2 billion photos onto the service every day.
A lot of numbers are being voiced in the billions today, Google currently has seven unique products with over one billion monthly active users each."
Source: TechCrunch, 17thMay 2017
35 creators on Patreon make more than $150,000 a year
"Patreon’s novel idea of fans just directly paying the artists they love is having its hockey stick moment. Patreon tells TechCrunch that in a year, it’s doubled the number of monthly active paying patrons to 1 million, and the number of active creators to 50,000. It’s now on track to pay out $150 million to creators in 2017, which would make its 5 percent cut equal $7.5 million in revenue. That’s after paying out $100 million total since 2014.
Videographers, musicians, writers, illustrators, animators, podcasters, game developers and more artists are finding steady income through Patreon at a time when other platforms look shaky for creators.
After the PewDiePie scandal alerted advertisers that they were appearing alongside objectionable content, YouTube has started letting them filter out certain channels. The result has been a decrease in monetization for YouTube stars. Vine died. Snapchat has neglected creators, refused to offer them direct monetization options and now has seen view counts fall due to ditching auto-advance and competition from Instagram.
Meanwhile, Instagram doesn’t offer ad revenue splits with creators. Facebook has begun to give some video makers 55 percent of the revenue from ad breaks they insert in their clips, but the program has yet to scale. Ad-supported platforms often pay merely $0.10 to $0.0005 per view, so creators have to be broadly popular to earn a living.
Yet on Patreon, contributors frequently cough up $5 per month to each of their favorite creators, who make 50X to 10,000X more per fan than on ads. In exchange, creators offer the art they’ve made that month, reserving premium access and rewards to those who pay more. Thirty-five creators made more than $150,000 in 2016, and thousands earn more than $25,000 a year."
Videographers, musicians, writers, illustrators, animators, podcasters, game developers and more artists are finding steady income through Patreon at a time when other platforms look shaky for creators.
After the PewDiePie scandal alerted advertisers that they were appearing alongside objectionable content, YouTube has started letting them filter out certain channels. The result has been a decrease in monetization for YouTube stars. Vine died. Snapchat has neglected creators, refused to offer them direct monetization options and now has seen view counts fall due to ditching auto-advance and competition from Instagram.
Meanwhile, Instagram doesn’t offer ad revenue splits with creators. Facebook has begun to give some video makers 55 percent of the revenue from ad breaks they insert in their clips, but the program has yet to scale. Ad-supported platforms often pay merely $0.10 to $0.0005 per view, so creators have to be broadly popular to earn a living.
Yet on Patreon, contributors frequently cough up $5 per month to each of their favorite creators, who make 50X to 10,000X more per fan than on ads. In exchange, creators offer the art they’ve made that month, reserving premium access and rewards to those who pay more. Thirty-five creators made more than $150,000 in 2016, and thousands earn more than $25,000 a year."
Source: TechCrunch, 18th May 2017
Over 20% of funds raised on Kickstarter are for games
"The numbers behind gaming’s growth on the site are striking. In total, fans have pledged over $580 million (£465m) to in excess of 20,000 successful campaigns – more than 20% of all funds raised on the platform. Tabletop games have done particularly well; in 2016, a six-month study found that board, card and roleplaying games had attracted six times as much funding as their digital counterparts.
Crane attributes this success to a range of benefits the site offers creators.
“With Kickstarter it’s really easy to make your games look nice,” he says. “You can show off your minis, really zoom in to the gorgeous details of a game in a way that’s difficult to do on another platform or on Amazon.”
He adds that the open nature of the service gives creators a level of creative freedom that might not be on offer from established, traditional publishers, pointing to the horror game Kingdom Death: Monster 1.5, which recently raised over $12.3 million (£9.9m), making it the highest-funded games project in the site’s history."
Crane attributes this success to a range of benefits the site offers creators.
“With Kickstarter it’s really easy to make your games look nice,” he says. “You can show off your minis, really zoom in to the gorgeous details of a game in a way that’s difficult to do on another platform or on Amazon.”
He adds that the open nature of the service gives creators a level of creative freedom that might not be on offer from established, traditional publishers, pointing to the horror game Kingdom Death: Monster 1.5, which recently raised over $12.3 million (£9.9m), making it the highest-funded games project in the site’s history."
Source: Tabletop Gaming, 9th May 2017
European digital ad spend rose to over €40bn in 2016
"At its annual Interact conference today, IAB Europe announced that online advertising grew 12.2% in 2016 to €41.8bn establishing itself as the dominant advertising medium in Europe.
The AdEx Benchmark study is the definitive guide to the state of the European online advertising market and is now in its eleventh year. The research demonstrates that online advertising continues to surpass TV advertising. All markets participating in the study recorded positive growth, a total of twenty markets grew double-digit for the third year running (three markets recording 30%+ growth. Mobile continues to drive the growth with both mobile display and mobile search seeing 50%+ growth in 2016. Mobile dominates across all markets with a 100%+ growth rate in some markets.
Mobile display now accounts for €5.4bn and continues to grow its share of the display market to 33.3%, with a growth rate of 53.3% compared with 2015.
Video which is considered as a key channel for delivering brand advertising campaigns, according to IAB Europe’s Attitudes to Digital Video Advertising report, continues to experience strong growth to a share of 18.2% of the total display market.
[...]
The IAB Europe AdEx Benchmark study divides the online ad market into three categories: Display, Search and Classifieds and Directories. Growth in these online advertising formats has been underpinned by shifting uses in devices and changing consumption patterns.
Display advertising outperformed other categories for the third year in a row with a growth rate of 13.8% and a value of nearly €16bn.
Search continues to be the largest online advertising category in terms of revenue with a growth of 12.9% and a market value of €19.1bn. It continues to be the largest online advertising format in terms of revenue.
[...]
Top 3 Individual growth markets were:
Romania – 36.9%
Slovenia – 32.2%
Ireland – 31.4%
Top 10 Rankings
UK – €14.2bn
Germany – €5.9bn
France – €4.2bn
Russia – €2.6bn
Italy -€2.3bn
Netherlands – €1.7bn
Spain – €1.6bn
Sweden – €€1.6bn
Belgium – €0.9bn
Switzerland – €0.9bn"
The AdEx Benchmark study is the definitive guide to the state of the European online advertising market and is now in its eleventh year. The research demonstrates that online advertising continues to surpass TV advertising. All markets participating in the study recorded positive growth, a total of twenty markets grew double-digit for the third year running (three markets recording 30%+ growth. Mobile continues to drive the growth with both mobile display and mobile search seeing 50%+ growth in 2016. Mobile dominates across all markets with a 100%+ growth rate in some markets.
Mobile display now accounts for €5.4bn and continues to grow its share of the display market to 33.3%, with a growth rate of 53.3% compared with 2015.
Video which is considered as a key channel for delivering brand advertising campaigns, according to IAB Europe’s Attitudes to Digital Video Advertising report, continues to experience strong growth to a share of 18.2% of the total display market.
[...]
The IAB Europe AdEx Benchmark study divides the online ad market into three categories: Display, Search and Classifieds and Directories. Growth in these online advertising formats has been underpinned by shifting uses in devices and changing consumption patterns.
Display advertising outperformed other categories for the third year in a row with a growth rate of 13.8% and a value of nearly €16bn.
Search continues to be the largest online advertising category in terms of revenue with a growth of 12.9% and a market value of €19.1bn. It continues to be the largest online advertising format in terms of revenue.
[...]
Top 3 Individual growth markets were:
Romania – 36.9%
Slovenia – 32.2%
Ireland – 31.4%
Top 10 Rankings
UK – €14.2bn
Germany – €5.9bn
France – €4.2bn
Russia – €2.6bn
Italy -€2.3bn
Netherlands – €1.7bn
Spain – €1.6bn
Sweden – €€1.6bn
Belgium – €0.9bn
Switzerland – €0.9bn"
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