In the run-up to Apple TV’s inaugural season as the exclusive U.S. broadcaster of Formula 1, DirecTV has announced that it is making the 24-race circuit available nationwide to both residential and business customers.

The agreement means that anyone who subscribes to Apple TV through DirecTV will now be able to discover and watch Apple TV’s live sports directly within their DirecTV experience, without having to exit to a separate app.

Its business customers include 300,000-plus sports bars, restaurants, hotels, and other commercial venues served by DirecTV For Business.

With F1 on Apple TV, fans can enjoy all 24 Grand Prix races, including practice, qualifying, and sprint sessions, all in one place.

DirecTV’s agreement also renews the same customers’ access to Apple TV’s live sports with Major League Baseball’s "Friday Night Baseball” doubleheaders throughout the 2026 campaign, as well as with a new season of Major League Soccer, starting this Saturday, Feb. 21. Starting this season, Apple is also including all MLS matches in its standard Apple TV subscription at no extra cost.

Apple has announced a major upgrade to the Apple TV app for device owners outside the Apple ecosystem with news that the Apple TV app for Android now supports Google Cast.

The support means that subscribers to the streaming service can now stream their favorite entertainment from an Android phone directly to their TV.

The new feature allows Android phone owners to easily cast global hit Apple TV series like "Pluribus", award-winning comedies and dramas such as "Severance", "The Studio", "The Morning Show", and "Slow Horses".

User can also cast Apple Original Films’ summer blockbuster "F1 The Movie" and a wide range of live sports, including "Friday Night Baseball" doubleheaders, every Major League Soccer match, and Formula 1 races in the U.S.

To cast the content, user simply need to press play on a phone and tap the Cast icon.

STAMFORD, Conn.—Charter Communications’ Spectrum brand has expanded the range of devices that can offer 4K content on the Spectrum TV app to compatible Apple TV 4K and Roku devices.

The Spectrum TV app's 4K content is already available on the Xumo Stream Box, which is a joint venture between Charter and Comcast.

The move will give Spectrum TV customers with Apple TV and Roku devices access to 4K content when it is being offered by ESPN, Fox and NBC.

"With the addition of Apple TV 4K and Roku, more Spectrum customers can enjoy the clarity that 4K brings, all within the Spectrum TV App," said Elena Ritchie, senior vice president, video at Spectrum. "Viewers can experience their favorite 4K live events with stunning picture quality, vibrant colors, and razor-sharp detail, making their viewing experience more immersive and enjoyable."

In the upcoming weeks, Spectrum said that the following 4K programming would be available:

• ESPN College Football's 4K Game of the Week, with select games in 4K throughout the season
• FOX's Big Noon Kickoff, select Saturdays during the college football season (check local listings)
• Syracuse vs. Notre Dame college football, November 22 at 3:30 p.m. ET on NBC
• Indiana vs. Purdue college football, November 28 at 7:30 p.m. ET on NBC
• Spectrum TV customers can find available 4K content in a dedicated section on the home screen of the Spectrum TV App. Additionally, when using a Xumo Stream Box, customers viewing HD content that is also available in 4K will be prompted with an on-screen message providing the option to switch to the 4K channel.

To watch 4K content through the Spectrum TV App, Spectrum said that customers need a Spectrum TV package that includes access to the ESPN, Fox or NBC network carrying the 4K event. Additionally, they must have a 4K TV connected to a Xumo Stream Box, Apple TV 4K 2nd generation and later, or compatible Roku TV or Roku streaming device, using a 4K-supporting HDMI cable. The picture resolution settings on the device should be set to 4K or 2160p, depending on the device.

NEW YORK and CUPERTINO, Calif.—Apple and NBCUniversal said they will sell Apple TV and Peacock streaming bundles to U.S. subscribers starting Oct. 20.

U.S. customers can save more than 30% by subscribing to the Apple TV and Peacock Premium (ad-supported) bundle for $14.99 per month, or Apple TV and Peacock Premium Plus (mostly ad-free) for $19.99 per month, the companies said.

Apple One subscribers on the Family and Premier plans can also subscribe to Peacock Premium Plus and receive a special 35% discount—the first benefit of its kind for Apple’s all-in-one subscription bundle.

“There is no more perfect combination of entertainment than the Apple TV and Peacock Bundle, with our complementary content portfolios featuring the best shows, movies, sports and live events,” NBCUniversal Media Group Chairman Matt Strauss said. “With this first-of-its-kind initiative with Apple, we’re redefining what the customer journey should be for a streaming bundle with rich sampling and a smooth sign-up process, and we’re broadening the reach of Peacock to even more audiences.”

“We’re thrilled to introduce this all-inclusive bundle of incredible programming and to bring Apple TV’s beloved shows and movies to more viewers in more places,” said Oliver Schusser, Apple’s vice president of Apple TV, Apple Music, Sports and Beats. “From acclaimed originals to can’t-miss live sports, the Apple TV and Peacock Bundle unites the best of entertainment in a simple and seamless experience.”

To help promote the advantages of the bundle the two companies are letting Apple TV app users and Peacock subscribers sample an extensive and curated selection of the partner service’s shows in each respective app.

At launch, Peacock subscribers can enjoy up to three free episodes of Apple TV’s "Stick,” “Slow Horses,” “Silo,” “The Buccaneers,” “Foundation,” “Palm Royale” and “Prehistoric Planet,” while Apple TV app users will be able to watch up to three free episodes of Peacock shows “Law & Order,” “Bel-Air,” “Twisted Metal,” ‘Love Island Games,” “Happy’s Place,” “The Hunting Party” and “Real Housewives of Miami.”

Pixalate’s new "CTV Device Market Share" report for Q1 2025 shows that Roku has the highest open programmatic CTV device market share in the United States, with 38% share of voice (SOV).

To compile the data, Pixalate’s data science team analyzed programmatic advertising activity across 26 billion global open programmatic ad transactions on CTV devices from Q1 2024 to Q1 2025 to compile this research.

Roku’s market share was more than twice that of Amazon’s Fire TV platform (18%), and far ahead of Apple (13%), Samsung (12%), LG (5%) and Vizio (5%).

Roku was also highest in the United Kingdom, with 25% SOV, LATAM (48%) and Mexico at 73%. Apple topped the rankings at 25% in Canada.

ENGLEWOOD CLIFFS, N.J.—CNBC has announced distribution deals that will launch its subscription streaming offering CNBC+ on Apple TV and Roku.

The service began rolling out on the platforms on April 2 at the time when CBNC and other cable networks owned by Comcast NBCU are preparing to be spun off into a separate company. With the ongoing decline of the pay TV ecosystem, direct-to-consumers offerings like CNBC+ are expected to be a major part of the spun-off company’s growth prospects.

CNBC reported that subscribers will have non-stop access to CNBC’s business news content by streaming their favorite shows from the U.S., Europe and Asia, live or on demand, for $14.99 per month.

The DTC service offers two CNBC+ livestreams for an enhanced viewer experience. Both streams offer live global programming, including award-winning shows like Squawk Box Asia, Squawk Box Europe and Closing Bell in the U.S., every weekday from market open to market close around the world. Viewers who want more information on their screen can watch the market data livestream, showcasing advanced real-time data meant to complement the opinions and analysis of CNBC anchors and guests through stock charts, news headlines and more, CNBC explained.

CNBC+ also includes an on-demand library of the network’s U.S. programming, including regularly scheduled Business Day shows and special content produced by CNBC such as CNBC Leaders. Subscribers can watch all U.S. Business Day programming on demand for up to seven days after premiere.

“We’re thrilled to expand our distribution of CNBC+ to Apple TV and Roku,” said KC Sullivan, CNBC president. “Giving new and existing audiences another way to engage with our content ensures they never miss a moment of CNBC’s highly valued insights and analysis that matter most for their money.”

Users can get CNBC+ content by downloading the CNBC app through the Apple TV App Store or the Roku Channel Store.

CNBC+ subscribers can also watch CNBC’s coverage on CNBC.com or via the CNBC iOS and Android mobile apps.

CNBC+ is the company’s latest product available for purchase from CNBC’s suite of direct-to-consumer offerings, including CNBC Pro and the CNBC Investing Club with Jim Cramer.

To learn more about CNBC+, visit cnbc.com/subscribe/cnbcplus.

Amazon’s Prime Video has released a new app for Apple TV that the streamer said delivers an improved streaming experiences with faster scrolling, improved search, new touchpad gestures, higher resolution images, improved accessibility and other features.

The app is available on the latest Apple TV HD and 4K Gen 1, 2 and 3 devices.

Prime Video reported that the refreshed app is faster and more fluid, allowing customers to browse through content seamlessly, search for titles with ease, fast forward and rewind with greater accuracy, and much more.

Other key improvements include:

• Faster Scrolling: Leveraging Siri Remote, customers can now use common gestures to navigate around the app. With a simple swipe in any direction, users can quickly scroll through dozens of shows with a single motion to find the exact title they’re looking for.
• New Touchpad Gestures: The touchpad gestures make fast forwarding and rewinding content a breeze. Customers can now simply swipe to their desired playback point.
• Search: The in-app search function will now automatically populate search results as customers type each letter. Users can also leverage dictation to find results quickly with just their voice.
• Motion and sound effects: For an even more cinematic experience, users can now enjoy sound effects when swiping through content and features like parallax effect for added visual depth.
• Images: The Prime Video app on Apple TV now uses higher resolution images so customers can fully immerse themselves into their favorite movie or TV show.
• Accessibility: Apple’s best-in-class suite of accessibility features, like VoiceOver, Hover Text and Bold Text, are now available to enhance the viewing experience.

To access the new features, customers need to open the Prime Video app and make sure that automatic updates are enabled in their Apple TV device settings.

Years after launching the streaming service Apple TV+ in November of 2019, Apple has finally released a version of its steaming app for Android devices.

The app is available globally on Google Play and offers access to Apple TV+ and MLS Season Pass on Android mobile devices — including phones, tablets, and foldables

The Apple TV app on Android includes key features like Continue Watching to pick up where a user left off across all their devices, and Watchlist to keep track of everything they want to watch in the future. The app streams seamlessly over Wi-Fi or a cellular connection, and includes the ability to download to watch offline, Apple reported.

With the Apple TV app on Android, Android users can now subscribe to Apple TV+ and access such series as "Severance", "Slow Horses", "The Morning Show", "Presumed Innocent", "Shrinking, Hijack", "Loot", "Palm Royale", "Masters of the Air", and "Ted Lasso". Subscribers can also access Apple Original films like "Wolfs", "The Instigators", "The Family Plan", "Killers of the Flower Moon", "CODA", and more.

Apple TV+ also offers Friday Night Baseball — a weekly Major League Baseball double-header with no local broadcast restrictions. New for 2025, Apple TV+ subscribers can also enjoy Sunday Night Soccer, a weekly primetime standalone match showcasing MLS’s most compelling matchups.

Major League Soccer has announced that its MLS Season Pass is returning to Apple TV, where fans in more than 100 countries and regions can sign up for MLS Season Pass to watch all the action on the league’s 30th Anniversary Season, which begins Saturday, February 22.

The Pass provides subscribers to every MLS game with no blackouts, along with in-depth coverage and analysis, expansive programming, exclusive content, and more — including the annual Leagues Cup tournament, MLS All-Star Game, Audi MLS Cup Playoffs games, and select MLS NEXT Pro matches.

In addition the league announced partnerships that will allow users to access MLS Season Pass via T-Mobile, Comcast and DirecTV.

The 2025 season marks the third year of an 10-year partnership between Apple and Major League Soccer. The upcoming season also marks the arrival of the 30th MLS team, San Diego FC. In 2022, Apple paid about $2.5 billion for the 10-year deal.

“MLS Season Pass delivers fans exactly what they want, connecting them with the game they love across all of their devices, with no blackouts,” said Eddy Cue, Apple’s senior vice president of Services at Apple. “Heading into our third year with MLS, we’re excited to continue elevating the fan experience and can’t wait for the season to begin.”

“Our partnership with Apple has redefined how fans experience Major League Soccer, bringing the league to more people around the world than ever before,” said Don Garber, MLS’s commissioner. “With the addition of Sunday Night Soccer, a new studio, and the debut of Onside: Major League Soccer on Apple TV+, 2025 will be our best season yet. We couldn’t be more excited about the future of our partnership with Apple.”

To celebrate the start of the 2025 season, MLS Season Pass will broadcast select preseason matches, including when LAFC faces reigning Liga MX Apertura 2024 champion Club América on February 11 at 10:30 p.m. ET, and Inter Miami’s final preseason friendly against Orlando City SC on February 14 at 7:30 p.m. ET. These matches will also be available to stream free for Apple TV+ subscribers.

On February 22 and 23, all 30 clubs will take the pitch for MLS is Back weekend. MLS MVP Lionel Messi and Inter Miami CF host New York City FC in the first match of the season at 2:30 p.m. ET. The complete regular-season schedule can be found at mlssoccer.com.

New for 2025, MLS Season Pass will broadcast a featured game of the week on Sunday evenings under the banner Sunday Night Soccer, with enhanced production and dedicated studio programming. These primetime games will air throughout the regular season and spotlight the league’s most compelling matchups. Sunday Night Soccer will include dedicated pre- and postgame shows, enhanced production and studio programming, and bespoke graphics in English and Spanish. All Sunday Night Soccer matches will also be available to stream free for Apple TV+ subscribers.

MLS also announced that T-Mobile and Metro by T-Mobile customers — including businesses — a promotional offer for complimentary access to MLS Season Pass all season long with no blackout dates. T-Mobile customers can redeem for a limited time via T-Mobile Tuesdays in the T-Life app, starting February 18.

In addition, Apple is partnering with Comcast to offer Xfinity customers an integrated viewing experience for MLS Season Pass, bringing all live matches directly into the Xfinity user interface so customers can easily find and watch all the action alongside other live programming.

As part of the partnership, customers will be able to sign up for MLS Season Pass directly through Xfinity, and every live match will be seamlessly incorporated throughout the viewing experience, including within the channel guide on X1 and the Xfinity Stream app, and the Apple TV app.

In addition, Comcast and Apple are unlocking free access to MLS 360 for all Xfinity customers throughout the season, the first time the popular whip-around studio show — which provides live looks-ins from every match — has been available without an MLS Season Pass subscription. And to celebrate the start of the 2025 season and the launch of the new viewing experience, Xfinity will offer all customers a free preview of MLS Season Pass from February 22 to March 2, after which they’ll be able to subscribe to MLS Season Pass through Xfinity.

Also new for the 2025 season, DirecTV residential customers can subscribe to MLS Season Pass through DirecTV. Matches will be available to watch live in the DirecTV satellite guide on channels 480 through 495, similar to the viewing experience for other league packages. Customers who subscribe through DirecTV will also be able to access MLS Season Pass through the Apple TV app.

DirecTV is making a free preview of MLS Season Pass available to all DirecTV residential and commercial satellite customers from February 22 to March 1, after which those customers will be able to upgrade to MLS Season Pass through DirectTV channels. This offering expands upon DirecTV’s exclusive rights to provide MLS Season Pass to commercial establishments, which has been available to DirecTV for Business’s vast network of more than 300,000 sports bars, restaurants, and more since the 2023 season.

NEW YORK—Major League Soccer has announced plans to move MLS Productions, the league’s media and broadcast production arm, into a new studio and facilities at World Wrestling Entertainment (WWE) headquarters in Stamford, Connecticut.

The move will help MLS Productions expand its capabilities, broaden content offerings, offer more efficient workflows and centralize its broadcast content and graphics.

The move is part of a renewed, multiyear deal between MLS and IMG that will expand their existing broadcast production relationship. As part of the agreement, IMG will continue to produce live match and studio productions and programming for more than 600 annual games on MLS Season Pass on Apple TV.

The WWE facility where MLS Production plans to reside is part of TKO Group Holdings, which recently reached an agreement with Endeavor to acquire IMG, in a transaction expected to be completed in the first half of this year.

The brand new state-of-the-art production facility, The Studios at WWE in Stamford, is a 30,000-square-foot, state-of-the-art production facility equipped with five studios with the latest technologies, wide-ranging production amenities, and highlighted by an awe-inspiring virtual production stage.

The facility features best-in-class production offerings and new cutting-edge technology to further improve the production of MLS Season Pass on Apple TV, MLS said. It will serve as the hub for popular MLS live studio programming and content in English and Spanish. The new location for MLS Season Pass will enable MLS Productions to add programming in the new season.

The bespoke facility, which has been engineered around the needs of MLS Productions, will also enable centralized solutions across the MLS workflow, the companies said.

“The debut of MLS Season Pass on Apple TV has been remarkable for fans around the world to be able to consume all MLS games and content,” said, Seth Bacon, executive vice president, media, MLS. “With the incredible momentum and excitement around the league, we are thrilled to further our partnership with IMG to support our vision of elevating production, creating new viewing opportunities, and pushing the sports broadcast landscape into the future.”

IMG produces content for some of the world’s biggest leagues and events, including the English Premier League, English Football League, Saudi Pro League, CBS Sports’ UEFA Champions League and Europa League coverage, UFC, DP World Tour, The Ryder Cup, and The Open Championship.

“Together with MLS and Apple, we have set a new standard for the MLS viewing experience, creating a new era of entertaining, highly engaging content for football fans globally,” said Barney Francis, executive vice president of studios, IMG. “Over the coming years, we will continue to innovate with cutting-edge technology and creativity, powered by our incredible new home, The Studios at WWE, and IMG’s industry-leading production experience and capabilities.”

“We have long admired the tremendous MLS-IMG partnership—and the fantastic product and results it has generated over the years,” WWE Executive Vice President, Media and Production Lee Fitting said. “We believe that WWE’s new state-of-the-art facilities will help take their collective capabilities to even greater heights.”

In 2023, MLS and Apple debuted MLS Season Pass on Apple TV, creating a single destination where every MLS match is available for fans worldwide, the league said. Together with its production partners IMG and NEP, MLS Season Pass has brought best-in-class production, more expansive coverage and increased global visibility, surpassing expectations in its first two years, according to the league.

For most of the history of television, pictures have been created to satisfy a standard. The technology has not always been reliably capable of actually achieving those standards, as was obvious in retailers’ showrooms where sports fields glowed a dozen slightly different shades of green. Now, especially with the second generation of RGB OLED technology, accurate pictures have never been more accessible.

What’s new is a situation where pictures are increasingly shot to more than one standard. The demand for HDR often requires shooting for both that and SDR, while more exacting pictures demand more exacting monitoring. As HDR in itself becomes unremarkable then, new challenges have emerged to face people responsible for showing both the director and the viewing public an appropriate image.

What You See Isn’t What You Get
Owen McPolin, ISC, is a cinematographer whose experience includes features and serial drama such as “Outlander,” “Foundation,” “Shadow and Bone” and “Vikings,” among many others. Thinking back to early experiences of HDR, McPolin describes a process of discovery, beginning with tantalizing promises of better consumer displays.

“I was told that anything I would create on set would be exactly what people would get when they watched their HDR-enabled TV and I thought that was fantastic,” McPolin recalls, but accepts “that lies somewhere between fiction and truth. You know that some people have HDR TVs which have Dolby Vision, or they might have SDR TVs. You end up making decisions that might be described as compromises, sometimes.”

One of McPolin’s earliest experiences with HDR, on the second season of “Foundation,” made clear that interpretation of an SDR monitor on set needs to be tempered with consideration of the likely results in HDR, especially in a more controlled (read: darker) viewing environment. 

“For example, we were in Lanzarote,” he said. “The landscape is very contrasty, with a very high volume of light. It’s volcanic so everything’s basalt and the landscape is dark, and you have characters walking around that landscape, then from the horizon up it’s really high levels of light.” 

At first, the situation seemed tailor-made for HDR. “You think, as long as I pitch it in the middle my exposure will hold the top and the bottom. Then, in the grading suite I worked with a guy called Tony Dustin at Company 3 Toronto. 

“He’s simply one of the best colorists out there, and he said ‘I have a little problem... you shot this sequence of this character walking through this landscape,” McPolin added. “The sky is holding, there’s details in the blacks, but in HDR people are going to be blown out of their seats by how bright the sky is.’ What you’re seeing on an SDR monitor on location is nowhere near what you’re going to get when you sit down with an HDR image.”

Some careful work by Dustin avoided trouble in that instance, but McPolin cites the situation as a cautionary tale.

“I’m being overly critical and oversensitive about it, but I was really surprised,” he said. “I was sitting in a darkened interior in Screen Scene in Dublin and I needed sunglasses. 

“When you get down to the basics, people like me have to turn to the director who’s asking ‘is what I’m seeing here going to come out on the screen?’ You have to say ‘not really, it’s going to be different. Now Tony has developed a cunning way of working in HDR, to render the desired result, but it takes both experience and time to achieve it.”

Out of the Dark
Long-term solutions will arise from both technology and the understanding of that technology. Bill Feightner is CTO at Colorfront, a company specialising in exactly the kind of picture processing which is crucial to both SDR and HDR workflows in drama and broadcast. 

(Read: HDR: Simply Better Pixels)

Feightner is the recipient of several awards, including a technical achievement award from AMPAS and the SMPTE Technicolor/Herbert T. Kalmus Medal; he co-founded Deluxe’s EFILM lab and served as CTO for more than two decades.

Feightner refers to the audience complaint that certain productions have looked “too dark,” something he puts down not so much to camerawork or grading, but the environment of the grade. 

“Often it was graded in a very, very dark room,” he points out, “and the artistic intent was to have some things barely perceivable. If you’re going out to anything but a controlled environment, say in a cinema or something, then you’re going to have problems. Your eyes will adjust to the ambient conditions they’re in. What was perceivable in a very dark room is not going to survive.”

The comparison of HDR and SDR displays can be counter-intuitive in other ways, as Feightner notes. 

“Another gotcha is that a lot of home TVs, when you’re watching normal SDR content, show it a lot brighter than the 100-nit brightness that is the best practice standard. Most home TVs will automatically have a peak brightness, in SDR, of 200 to 300 nits. That’s three times the light—but when the same TVs switch to HDR they’re quite well calibrated. It is often the case that mid greys will actually look darker in HDR, if you haven’t compensated [for] the boosted light levels of SDR.”

Colorfront’s proprietary solution, Feightner says, is straightforward in concept.

“The HDR default is adjusted up so it will look good in a dim surround–not a pitch black viewing environment which people often don’t have,” he said. “It’s one of those things that the whole industry needs to address; adjusting for the ambient surround. Ideally that would be something that would happen in the TV, but there’s no real standard way of doing that. Some TVs have made attempts at it [but] our standards really need to be revised. There’s a lot that has to be thought about.”

Broadcasters and drama producers have closely-related concerns, and Feightner’s approach exists not only in software for post production, but also hardware, in the AJA FSHDR device for trucks and studios. 

“We did a test for the Rose Parade in L.A. a couple years ago, handling the whole thing as HDR, and derived the SDR from that,” Feightner said. “The video shader had a Sony X300 [precision HDR reference display]. With a foot switch he could either see HDR or SDR and he was very happy. He used to switch back and forth, and then he saw they matched, and he said ‘I don’t need to flip back and forth because I knew everything would match.’ It proves everything can work.”

‘Like a First Generation Print’
Variability in domestic viewing seems inevitable. Perhaps as a result, various other initiatives have been tried—not least of which involves viewer education. Cinematographer Stephen Murphy, BSC, ISC, has credits on “Mr and Mrs Smith” for Amazon, “Atlanta” for FX/Disney and “No One Gets Out Alive” for Netflix. He describes his taste in pictures as leveraging the ability of HDR to render not only bright highlights, but also dark blacks.

“The way I shoot, and the way I want stuff to look, tends to mean that I’m using only a small fraction of what HDR is capable of displaying,” Murphy states. “I don’t want the HDR version to be significantly different from the SDR version.

“I would say the HDR version is like a first generation print straight out of the lab,” Murphy added. “The blacks are nice and shiny and have more lustre, the highlights have more clarity, and there’s an improvement in the range of colors available. I don’t think you should be making HDR versions that suddenly have a substantially different look. There’s been plenty of times when I’ve had my highlights at 200 nits at the most. I have the full range of a thousand nits, but I don’t use it because I don’t want it to look like that.”

Better on-set monitoring is, Murphy says, increasingly available. “Everything I’ve shot in the last three years has been HDR primary… and on the project I wrapped recently, we had HDR on set.” 

Regardless, no filmmaker can guarantee the viewer has a viewing setup which will lead to a comparable experience, even with the best equipment, Murphy added.

“All you can do is finish your show to the highest possible level in a suite you know is consistent. I don’t think you can account for the variation of people placing their TV in front of a bright sunny window dialled up to 11.”

Advising the audience on TV placement, and the creator mode increasingly found on consumer equipment, might help—although the link between the creative and the audience seems persistently weak, as Murphy says, with bandwidth limits affecting pictures particularly in HDR.

“I think the issues are sometimes not what the cinematographer has done or what the colorist has done, but about how the networks are broadcasting those episodes. There’s a huge variability from network to network in how they broadcast. That’s what we need to try and improve.”

Murphy concludes with an idea which has probably dogged film and TV creatives for the entire history of cinematography. “It has to try to catch up with us, the creatives, rather than the other way around… to me it’s a display issue, not a creative issue. It’s about how I get this show to look its best on this display.”  

Despite the launch of Netflix’s new $7 per month “Basic with Ads” subscription this week, some viewers are finding that the new ad-supported tier is not compatible with some streaming devices according to Ars Technica. 

The new plan includes five minutes of ads per hour, and has other restrictions including no downloads and 720p resolution; in addition, some content featured on Netflix’s higher subscription tiers are unavailable. But some potential subscribers are finding that the new plan is not as universally supported on all streaming devices as Netflix’s regular tiers. 

The most prominent? Apple TV (which also began shipping its latest incarnation this week). Netflix’s help center advises subscribers that “Basic with Ads isn’t supported on Apple TV” and that they will have to upgrade to Basic, Standard or Premium plans or “use a different device.” Netflix has announced that support for Apple TV will be forthcoming. 

Also not compatible are versions of Chromecast sold before the latest version that includes Google TV came onto the market in September. “Basic with Ads is supported only on Chromecast with Google TV,” according to Netflix. 

And if you want to access the ad-supported service on an Apple smartphone or iPad, be sure to update your devices to iOS 15 or later; or on Android devices, v7.0 and up.

LOS ANGELES—MotorTrend Group, which is part of Warner Bros. Discovery, has announced that the MotorTrend streaming service is now available to customers in the U.S. in the Apple TV app. 

MotorTrend subscribers can stream approximately 7,500 episodes of top series and specials.

“The availability of MotorTrend in the Apple TV app is the latest step in our distribution goal of making MotorTrend’s premium streaming video content catalog available to fans on all major platforms. We’re thrilled to now deliver the world’s best automotive entertainment, including the newest episodes of `Top Gear America,’ to customers directly through the Apple TV app,” said Mark Jocson, vice president, digital partnerships and distribution.

Starting on Sept. 14, customers can sign up for a seven-day free trial and subscribe directly to MotorTrend’s premium streaming content on the Apple TV app for $4.99 per month. 

Subscribers to MotorTrend can watch online or enjoy offline downloads of their favorite shows on the Apple TV app. Through Family Sharing, up to six family members can share the MotorTrend subscription using their own Apple ID and password. 

PHILADELPHIA—Comcast has launched the Xfinity Stream app on Apple TV 4K and Apple TV HD, giving Xfinity TV customers another way to access their pay TV subscription – including all live, on demand, and DVR programming – within the home.  

In the run-up to the launch Comcast redesigned the Xfinity Stream, which is launching first on the Apple TV platform with a new, more intuitive user interface, the operator said. 

The new UI is designed to simplify content discovery through editorial recommendations along with a personalization algorithm that allows customers to continue watching their favorite shows and movies across platforms and devices.

“We are always looking for ways to enhance our entertainment experiences as the needs of our customers evolve - whether that’s expanding to new platforms, launching new features, or adding more programming options,” said Michael Delciello, senior vice president, strategic development, Comcast. “With today’s launch of the Stream app on Apple TV, our customers now have a new device option for accessing their Xfinity TV subscription in the home, and they will be the first to enjoy a new, streamlined UI designed to make it easier to find something to watch – whether that means getting back to a favorite show or movie, or finding something new.” 

Earlier this year, Comcast and Apple worked together to bring the Apple TV+ app to Comcast’s entertainment platforms, including Xfinity X1, Xfinity Flex, and XClass TV. 

CUPERTINO, Calif.—In another major example of how streamers are piling into the sports business, Apple and Major League Soccer (MLS) have announced a major deal that will make the Apple TV app the exclusive destination to watch every single live MLS match. 

The deal begins in 2023 and runs through 2032. Financial terms were not disclosed. 

Apple is calling the deal “a historic first for a major professional sports league,” because it will allow fans around the world to watch all MLS, Leagues Cup,1 and select MLS NEXT Pro and MLS NEXT matches in one place without any local broadcast blackouts or the need for a traditional pay TV bundle.

In addition to all of the match content, the service will provide fans a new weekly live match whip-around show as well as game replays, highlights, analysis, and other original programming, Apple announced. 

A broad selection of MLS and Leagues Cup matches, including some of the biggest matchups, will also be available at no additional cost to Apple TV+ subscribers, with a limited number of matches available for free. As an added benefit to fans, access to the new MLS streaming service will be included as part of MLS full-season ticket packages.

“For the first time in the history of sports, fans will be able to access everything from a major professional sports league in one place,” said Eddy Cue, Apple’s senior vice president of Services. “It’s a dream come true for MLS fans, soccer fans, and anyone who loves sports. No fragmentation, no frustration — just the flexibility to sign up for one convenient service that gives you everything MLS, anywhere and anytime you want to watch. We can’t wait to make it easy for even more people to fall in love with MLS and root for their favorite club.”

“Apple is the perfect partner to further accelerate the growth of MLS and deepen the connection between our clubs and their fans,” said Don Garber, MLS’s commissioner. “Given Apple’s ability to create a best-in-class user experience and to reach fans everywhere, it’ll be incredibly easy to enjoy MLS matches anywhere, whether you’re a super fan or casual viewer.”

At launch, all MLS and Leagues Cup matches will include announcers calling the action in English and Spanish, and all matches involving Canadian teams will be available in French.

Apple and MLS will also provide enhanced league and club coverage for fans to easily follow the league or their favorite clubs in Apple News, with the ability to watch highlights right in the News app.

Complete details for the new MLS streaming service, including when fans can sign up, subscription pricing, specific details about the new MLS programming, an improved match schedule, broadcast teams, production enhancements, and pre and postgame coverage will be announced in the coming months, Apple said. 

PHILADELPHIA, Penn.—In an important example of how operators are adding streaming services to their platforms, Comcast has announced that it will be bringing Apple TV+ and the Apple TV apps to its Xfinity and Sky customers on a variety of devices. 

Brian Roberts, chairman and CEO of Comcast made the announcement during the company’s third quarter earnings call. No timeline was provided but Variety has reported that the Apple services will be added in the coming months. 

“I'm pleased to also announce today that Apple will bring Apple TV Plus and the Apple TV app to our Xfinity and Sky customers on X1, Flex, XClass, Sky Glass and Sky Q devices and Comcast is bringing the Xfinity stream and Sky Go apps to Apple TV devices,” Roberts explained at the start of the earnings call. “We're working together with our partners to deliver the best apps and experiences on our platforms and our teams are sharing capabilities and collaborating across the company. Collectively, drawing on our scale and leadership in broadband, aggregation and streaming to innovate and profitably serve new and existing customers.”

Later in the call when asked about Comcast’s move into smart TVs with XClass and Sky Glass, Roberts stressed that the company wants to become an even bigger streaming player with a wider array of offerings and he explained that adding Apple TV+ was part of that effort. 

“We -- the global technology platform, we do about 5 billion entertainment streams a week on 75 million devices,” Roberts said. “So we have a huge global scale. And one of the great things that we've been working on... is having a global technology platform….So to specifically talk about the connected TV -- streaming TV, which is what Sky Glass and XClass are really all about, I think it's a natural evolution. So I think it's a beginning of a logical extension.” 

“It is really a breakthrough idea, I think on how people buy it and pay for it, but mostly it's a embodiment of what we do well, which is aggregation and that we're going to find a way for consumers to get to what they want faster, personalize it and have fun along the way,” he added. “And then it's a platform for innovation on a go forward basis for where we think television may evolve, and whether it's gaming, whether it's fitness, healthcare, education and so having that be part of your relationship with our company, I think is novel territory for us to do R&D off of.”

These efforts will also allow the company to expand beyond its traditional footprint. “In the US and finally, it allows us to take it all over Europe, potentially as you say in and out of footprint,” Roberts said. “So we're starting in the UK, but we have ambitions to expand quickly to other countries, and it's great for streamers and streaming services. So our importance to the streaming universe will continue to grow and our relationship and certainly the Apple announcement today is….the latest iteration of that.”

CUPERTINO, Calif.—Apple has never released sub numbers for its Apple TV streaming service, but the labor negotiations between producers and the IATSE have provided a rare inside look at Apple TV’s sub counts, with a union spokesperson telling CNBC that the streaming service had fewer than 20 million subs in July, 2021.

Apple TV told the union that it had fewer than 20 million subs as part of the labor talks because streaming services with less than 20 million subs are allowed to pay lower rates to IATSE members even though some of the productions cost millions of dollars per episode to produce. 

NBCUniversal’s Peacock and ViacomCBS’ Paramount+ also had under 20 million subscribers, allowing them to ask for discounts on labor, a union spokesman told CNBC. 

Pay levels for work on productions for streaming services as well as long working hours and work conditions are key sticking points in the labor dispute. 

IATSE has announced that it plans a strike authorization vote that could shut down film and TV production on many sites in the U.S. and Canada. 

The full CNBC article is available here.

NEW YORK—Verizon has announced that it’s Fios TV app is now available on Apple TV and Fire TV. 

That will allow customers to access Fios TV content on multiple TVs in the home without having to pay for additional boxes. Users will still, however, need one Fios TV box. 

The move was part of the July 22 launch of new Mix & Match on Fios plans that Verizon said would give customers more value and stronger connections with Whole-Home Wi-Fi.. 

The Mix & Match plans include:

· Whole-Home Wi-Fi to boost signals to improve in-home Wi-Fi coverage.

· Upload speeds up to 25x faster than cable.

· Fios TV app available on Apple TV 4K, Apple TV HD or Amazon Fire TV, which allows users to watch TV on your favorite devices with only one Fios TV box necessary

· New Fios TV plans come with the Fios TV One box and voice remote included at no additional charge

CUPERTINO, Calif.—Apple has released tvOS 14, the latest iteration of the operating system found in Apple TV connected TV devices, as well as smart TVs from Vizio and other electronics brands. 

Like most OS upgrades, the improvements are in the fine details. For example, Apple’s $179 Apple TV 4K debuted back in 2017 with support for HDR10, Dolby Vision and Dolby Atmos. But due to a dispute with Google over 4K video codecs, tvOS didn’t support 4K videos on YouTube … until now, with the launch of tvOS 14, which supports the VP9 codec.

The new OS offers expanded support for picture-in-picture, which was previously available only within the Apple TV app. Now it’s enabled on pretty much any app you use on tvOS devices, meaning you can keep watching what you’re watching while moving around the Apple TV interface. 

There’s new multi-user support for Apple Arcade—all games save in progress now for every member of a family, for example. 

Perhaps most notable is support for devices powered by HomeKit, Apple’s home automation platform. Apple TV users will see a live video feed from a HomeKit-enabled smart doorbell, in the form of a floating thumbnail, when someone’s at the door, for instance. 

The upgrade is available for fourth-generation Apple TV devices, including the Apple TV 4K.

Apple is expected to release the next iteration of Apple TV hardware next year. 

CUPERTINO, Calif.—During Monday’s WWDC event, Apple announced a number of new features for its Apple TV service.

As part of an update to tvOS14, the company plans to launch a number of new features in the autumn including YouTube playback in Ultra HD.

“Watch the latest YouTube videos in their full 4K glory,” says the webpage for the update. “Your favourite music, slo‑mo, outdoor and vlog footage never looked better.”

Other new features will include picture-in-picture so viewers can minimize a film or TV series if they want to check something else on the app. Viewers will also be able to share audio, pairing two sets of AirPods with the Apple TV so two people can watch content while not bothering others.

Apple also said its app is now present on a billion devices, CEO Tim Cook revealed that the app was active on more than 900 million iPhones in the last year alone.

While Apple’s streaming service hasn’t caught viewers’ imaginations quite as much as Disney+, tech, media and telco analyst Paolo Pescatore tells TVT's sister publication TVBEurope the company is not trying to compete with other SVoD services (for now). “It has done a superb job of positioning itself as an aggregator with Apple TV—which is much more than a TV platform.”

“Apple TV+ allows the company to differentiate its overall offering. In essence it is a different service, which complements other so called rival services. It has a huge installed base, which is extremely attractive to content creators. This will help it understand viewer habits and behavioral patterns. While others will struggle, Apple’s broad reaches will ensure it success as it steadily expands its catalog and genres.”

NEW YORK—HBO Max is coming to Apple devices right away, as WarnerMedia has announced that the new streaming service is going to be fully integrated with the Apple TV app on iPhone, iPad, iPod Touch and Apple TV as of HBO Max’s launch on May 27.

Any customer with an iPhone, iPad or iPod Touch will be able to access HBO Max directly, as will Apple TV customers with an Apple TV 4K or Apple TV HD. Those with second and third generation Apple TV models can stream HBO Max content from another Apple device to their Apple TV through AirPlay.

WarnerMedia also says that HBO Max will be integrated with the Apple TV app, enabling it to be readily available in the Watch Now section and in its own HBO Max room. Shows and movies can also be added to the Up Next queue. Siri and universal search will also be able to find HBO Max content.

HBO and HBO Now subscribers who are already billed through Apple will gain access to HBO Max at no additional charge, according to WarnerMedia.

“As we prepare for the launch of HBO Max, our focus remains on making its as widely available as possible for customers seeking out this best-in class streaming experience,” said Rich Warren, president of WarnerMedia Distribution. “The availability to HBO Max across Apple devices is a great addition to our distribution offering and will provide seamless access for millions of customers.”

In addition to Apple Devices, WarnerMedia says that HBO Max will be available through AT&T, Charter and YouTube TV, as well as other distributors that are expected to be announced closer to launch.

HBO Max is priced at $14.99 per month.

For more information, visit www.hbomax.com. 

CUPERTINO, Calif.—Apple is expanding the presence of its Apple TV app, announcing that it will become available on LG, Sony and Vizio smart TV “later this year.”

The Apple TV app gives consumers access to more than 30 Apple TV channels, including the Apple TV+ streaming service and its shows like “The Morning Show,” “Dickinson” and “See.” In addition, consumers can buy and rent TV shows and movies through the app, including ones in 4K HDR.

Previously, the app had been available on iPhone, iPad, Apple TV, Mac and iPod Touch devices, as well as Samsung smart TVs, Amazon Fire TV and Roku devices. Samsung was the first manufacturer to integrate the Apple TV app onto its smart TVs.

LG has already announced that its 2020 LG OLED and LG NanoCell TVs will feature the Apple TV app. For those with 2018 and 2019 LG TV models, they will be able to access the Apple TV app through a webOS smart TV update.

No official date has been announced for when the Apple TV app will be available on any of these TV models.

LOS GATOS, Calif.—Apple TV is spreading its wings, with consumers now able to access the app on Roku platforms as of Oct. 15. This will also allow for Roku users to signup for and access the Apple TV+ streaming service when it launches on Nov. 1; this could help counter recent reports that the reach of Apple TV+ could be limited at launch.

Roku users can access the Apple TV app through the Roku Channel Store, which will give them access to TV shows, movies and their iTunes video library, as well as the ability to subscribe to Apple TV channels. When Apple TV+ launches, Roku users will be able to subscribe ($4.99/month) directly through the Apple TV app.

In addition to the U.S., the Apple TV app will be available on Roku devices and supported streaming services in Argentina, Canada, Chile, Colombia, Costa Rica, El Salvador, France Guatemala, Honduras, Mexico, Nicaragua, Panama, Peru, Republic of Ireland and the United Kingdom.

“With the Apple TV app coming to Roku, our customers will enjoy an even broader range of exciting entertainment, including the highly anticipated Apple TV+ service,” said Scott Rosenberg, senior vice president and general manager of platform business with Roku.

SAN JOSE, Calif.—Apple may end up charging a fee for its new TV service despite analysts originally expecting it to be free to Apple TV users.

During a phone call to discuss the company’s fiscal third quarter, CFO Luca Maestri said that the launches of Apple Arcade and Apple TV+ will add to the company’s current 420 million subscriptions to its services business, which includes Apple Music, iTunes, Apple Pay and iCloud.

That has now led to speculation Apple will charge a subscription fee for Apple TV+ instead of offering it as a free add-on for Apple TV users, as has been previously suggested.

Maestri also said that there would be trial periods upfront, so “the road to monetization takes some time.”

The company also reported double-digit revenue growth from Apple TV in the third quarter, with the new Apple TV app generating a year-on-year increase of 40%  in viewers in the U.S.

There is still no official launch date for Apple TV+.

SAN JOSE, Calif.—Among the series of announcement that Apple made during its Apple’s Worldwide Developers Conference on Monday, June 3, was an update to its tvOS operating system that manages the Apple TV 4K experience. The tvOS 13 touts a number of new features that are designed to boost a user’s personalized experience.

The updated OS will highlight the brand new Apple TV app, a new method for accessing the content that was previously on the now disbanded iTunes, including 4K HDR titles. The Apple TV+ video subscription service will also be available through the Apple TV app when it launches this fall.

Chief among the new highlights in the TV app is new multi-user support for the Apple TV Control Center that allows users to switch between their own personal accounts for a specific entertainment experience. Each account features unique Up Next lists and receive content recommendations based on tastes. The Control Center also provides users with quick access to Apple features like system sleep and audio routing.

Apple also previewed the launch of Apple Arcade, which arrives this fall to Apple TV 4K. A single account provides access to more than 100 games. In addition, tvOS 13 has support for Xbox One S and PlayStation DualShock 4 controllers for Apple Arcade play.

Additional features include a new version of the Home screen that presents full-screen video previews of content aimed at helping with discovery; access to personalized Apple Music accounts; and a new series of 4K HDR screen savers with the theme of under the sea.

The Apple TV app is available on other Apple devices and select third-party platforms.

The media landscape is evolving rapidly before our eyes. A sea change has taken hold in many areas, perhaps none more so than in cable television. As a result of frustration over cable and satellite customer service and costs, many TV viewers have "cut the cord," meaning they choose to watch TV programs via other options.

Over the past eight years, cord-cutting has increased by 48%, with 14% of all households now fully removed from cable contracts. And the amount of cord-cutters only seems to be increasing; in Q3 of last year alone, nearly 1.2 million people defected. Traditional television is on a fast track to the media morgue. In a progressively virtual world, video content providers will need to adapt in order to stay alive in an increasingly competitive market.

THE OPPORTUNITY OF DYING MEDIA MODELS

One of the main reasons that cable viewership is dying is because of the low popularity of cable companies. High cost, poor customer service and a lack of value for money have been cited as factors resulting in customers losing faith in traditional cable companies.

Over-the-top (OTT) video media providers have seized the opportunity. With a la carte video options, consumers are able to choose the exact content they desire without having to sign lengthy contracts. Even established television networks are beginning to offer their services online. HBO, the longtime stalwart of premium cable, successfully launched its standalone service HBO Now in 2015, giving cord-cutters easy access to cutting-edge television programs.

With traditional television-viewing declining, cable companies have begun to adapt to the new media climate by developing their own streaming services. With enormous amounts of capital to spend, telecommunications networks are beginning to fill their arsenal with the most prestigious content providers. Already, NBCUniversal, Disney and Apple have announced plans to create their own streaming services with original content. AT&T’s acquisition of Time Warner shows a clear commitment to providing top-of-the-line programming to compete with the growing quality of original content on Netflix and Hulu. With the luxury of already owning premium commodities such as Marvel and Star Wars, Disney’s long awaited streaming service should immediately become competitive.

Another opportunity lies in enhancing its set-top box production (STB). STBs may seem like a dated tech, and yet the market is expected to be worth over $46 billion in 2027. Demand for HD STBs is abundant in order to access the full potential of 4K televisions, but as traditional cable STBs decline in popularity, investing in OTT-device STBs could prove a fruitful opportunity.

Telecommunications companies need to also look at OTT services for the ways in which they view advertising. By shifting from broadcast television to OTT devices, companies can spend advertising money more efficiently. With intelligent audience platforms such as TruOptik, advertisements are able to have shorter, better-targeted ads that customers don’t mind watching and companies don’t mind paying more for. In short, it’s a win-win for both sides, the mythical “Holy Grail” of advertising. However, there is yet to be any evidence that this lofty goal is achievable.

LESSONS FROM THE MUSIC REVOLUTION

Apple officially marked its intent to join the streaming arms race with Apple TV Plus set to be released this fall. In fact, the battle between Netflix and Apple has already begun. With a preemptive strike, Netflix recently dropped Airplay support from its app, while Netflix remains conspicuously absent from the Apple TV service. But in this current hypercompetitive video media climate, Apple may have a secret weapon: a roadmap of past success with iTunes.

In 2003, Apple faced a similar crossroads. iTunes began in 2001 as a media player to pair with the nascent iPod. With the release of the iTunes Store in 2003, it quickly became the premier music marketplace in the world. At its height, over two-thirds of all music purchases were made through the iTunes Store. Considering the sheer ubiquitousness of iTunes in the music industry today, it’s strange to think of its launch as an ambitious move.

The rise of peer-to-peer (P2P) music sharing sites such as Napster and Limewire had decimated CD sales by making pirated music accessible to anyone with a simple download. The music industry was in a crisis—or as Apple CEO Steve Jobs put it, a revolution. The stage was set for a kind of “cord-cutting” of the music industry that mirrors what’s happening with TV today.

Apple noticed this disconnect between consumers and record labels, and sought to develop a means to bridge the gap between the two. The iTunes Store aimed to address the concerns of consumers who wanted easier access, flexibility and lower costs without sacrificing quality in their music selection.

To address these issues, Apple made sure that they had top-of-the-line premium content for users to purchase. They secured contracts with some of the biggest record labels—Universal Music Group, Warner and Sony to name a few—and launched with 200,000 songs available to download. They set the price per song at a strict 99 cents, allowing customers to pick and choose whichever tracks they desired. And those who had previously pirated their music were able to experience the same ease of access with a simple click of a button. Demand picked up immediately, with a monumental one million songs sold within the first week. Later that year, iTunes Store was released for Windows, and Apple would continue its ascendency to a global juggernaut in music.

The climate for Apple TV Plus isn’t identical to what it was for iTunes: Rather than being bold new explorers in an emerging industry, they will enter a video media world with hordes of competition eager to see them fail. But by using the same strategies employed in the creation of iTunes, Apple TV has a blueprint for success.

Without the partnerships with major record labels, there is little chance that the iTunes store would have gotten off the ground as smoothly as they did. In a video media world where Netflix is winning Oscars, quality content is perhaps the most critical element. With confirmed original content from established stars such as Oprah, Steven Spielberg and M. Night Shyamalan, Apple is once again aiming to provide quality programming from the jump.

Apple can also imitate the ease of access for its customers that it executed with iTunes. iTunes optimized the process by allowing for consumers to choose songs or albums at the click of a button. Apple doesn’t seem to be giving this the full care it deserves in its video streaming, however. With Apple Plus TV, customers are able to access it in 100 plus countries, but crucially, its not compatible with Android or Microsoft devices. In order to fully reach its potential, access to this market is critical.

Another reason for the success of iTunes is its low price. When attempting to compete with pirated music, having a low price for music was essential. This is also the case in the hypercompetitive environment of video media. Apple has been tight-lipped about the cost of their service, while it did announce that there wouldn’t be any ads playing before the content. If Apple chooses to have a lower price than its competitors, it could prove to be game-changing.

Most companies probably will not survive the evolving media landscape if they take an insular approach to addressing changing consumer needs. They’ll have to look beyond themselves: whether that means embracing new revenue models, new technologies or perhaps new partners they didn’t know they would have. The challenge is a steep one, but it can be solved with always having the customer at the top of the mind.

Javier Brugues, is the director of Business Development atintive.com.

NEW YORK—Originally announced during CES in January, as of Monday, May 13, Samsung is making the new Apple TV app and AirPlay 2 capability available in all of its 2019 Samsung Smart TVs, as well as select 2018 models via a firmware upgrade. The addition of these services from Apple will enable Samsung customers to view Apple TV channels and iTunes movies and TV shows.

Samsung’s Won-Jin Lee, executive vice president of visual display business, says that Samsung is the first manufacturer to integrate the Apple TV app on a Smart TV platform. The Samsung TV’s will also be the first non-Apple product to support AirPlay 2.

The Apple TV app is being fully integrated into Samsung’s Smart TV platform, allowing viewers to buy or rent iTunes movies and TV shows, including titles available in 4K HDR. In addition, viewers will be able to subscribe to Apple TV channels within the app, which will also include the upcoming streaming service Apple TV+ set to debut later this year. The Apple TV app is designed to work with Samsung Smart TV’s services, including Universal Guide, Bixby and Search.

AirPlay 2 capability on the Samsung Smart TVs enable customers to play videos and other content from their iPhone, iPad or Mac directly to a Samsung Smart TV.

CUPERTINO, Calif.—Apple has announced the launch of Apple TV+, a new streaming service featuring TV, films and original content on demand.

So why now? Michail Chandakas, analyst at Kagan, a media research group within the TMT offering of S&P Global Market Intelligence, points toward declining hardware sales: “Apple is pursuing a more diverse consumer approach with the Apple TV and Apple 4K TV streaming devices that aggregate a number of OTT services, much like Roku and Amazon channels, through Apple ID or directly through the available SVoD services.”

“Services is a revenue stream that has been growing strongly for Apple,” adds Toby Holleran, senior analyst at Ampere Analysis. “It already offers a Cloud storage service, a music service and in some markets a subscription plan for iPhones that ensure prompt upgrades."

“Launching a video service is another product to add to its services portfolio, especially as consumers are spending more and more time watching video through online video services,” he continues. “By offering multiple services, Apple puts itself in a position to provide a single-fee multiple service offering, which will keep its users within the Apple ecosystem.”

Apple also benefits from a ready-made audience who are famously flush with their cash when it comes to entertainment. “For Apple, an already established 1.3 billion active user base gives it a head start in terms of distribution—compare that to Spotify’s 100 million and Netflix 139 million at end-2018,” notes Chandakas.

“Factor in Apple’s new partnership with Samsung confirmed earlier this year, placing an exclusive iTunes content app on the South Korean manufacturer’s TVs, and it has a solid base to build on,” adds David Sidebottom, principal analyst and Futuresource Consulting.

Holleran predicts that Apple will initially target consumers already within their ecosystem, using Apple Music as a test bed for whether users will sign up: “Among those responding to our consumer survey in 20 markets worldwide, almost 90 percent of Apple Music subscribers own an iPhone, while 95 percent own at least one Apple product.

“Thus, existing Apple device owners (especially those subscribing to other Apple services) are the best addressable market for a video streaming service. Additionally, both Apple Music subscribers and Apple device owners have a high engagement with online video services,” he explains.

However, not even a company as wealthy as Apple can afford to be complacent in an SVoD market dominated by Netflix and Amazon. “As a newcomer to the online video space, Apple is unlikely to cause a dent in the market in the short term,” says Holleran.

“Online video services such as Netflix or Amazon will definitely keep an eye on a company with one of the largest cash reserves in the world, but there will be teething issues for Apple’s service, not least of which could be the limited availability of content,” he continues. “Studios appear to be more focused on launching services of their own rather than licensing their content out, while Netflix and Amazon often secure multi-year contracts for the content they license.”

Sidebottom agrees: “Apple will be nothing without the necessary content markers. Even with its well-entrenched fan base, a strong and wide content offering will be needed from day one. Comparisons with Netflix’s content will be inevitable, and Apple will require a powerful portfolio to attract and retain subscribers. They’ll need to plan continued forays into exclusive or original content, but given Apple’s likely key subscriber demographic, these customers will be taking Apple as an additional service, rather than cannibalizing their existing video subscriptions.”

The rise in SVoD “stacking” is therefore expected to limit Apple TV+’s impact on Netflix and Amazon Prime Video. “Futuresource research shows there’s a continuing customer acceptance of multiple subscriptions,” explains Sidebottom. “In the U.S.A., there are nearly 80 million households with SVoD services, and on average each of these households takes two services.” In Europe too, more than half of SVoD consumers subscribe to two or more services.

“Our research suggests that this will trend towards three subscriptions in the coming years, although this will be marginally lower in Europe,” Sidebottom continues. “However, the sheer number of SVoD services available could see consumers become more comfortable with trial memberships and special offers, dipping in for short periods and then cancelling subscriptions as they become increasingly aware of the number of services they are taking.”

Disney+ is also expected to launch this year, as well as streaming service plans by WarnerMedia, which Chandakas expects to impact Netflix and Prime Video: “The new services should put a pressure on the growth of most subscription OTT/SVoD services in Europe during the next one to two years, but that time scale is too short for any major changes.

“The total SVoD revenues will keep growing as a proportion of the total spending that goes to subscription video services (multichannel and OTT) due to the increase of the overall number of available services. We expect the top two services, Netflix and Prime Video, by subscribers and revenues to experience lower shares compared to 2018,” he concludes.

Streaming provider fuboTV announced that it plans to carry Fox Sports’ (FS1) UHD-HDR coverage of selected NCAA football games starting with San Diego State-Stanford matchup on Aug. 31.Other games to be covered in ultra-high definition, high dynamic range include W. Michigan vs. Michigan Sept. 8 and Fresno State at UCLA on Sept. 15, as well as other PAC12 and Big 10 games during the season.

The collaboration extends fuboTV’s relationship with Fox Sports when fuboTV launched its 4K HDR Beta service carrying FS1’s coverage of the World Cup in July as well as FS1’s coverage of a recent Yankees-Red Sox duel in UHD HDR. This is the second year FS1 has covered NCAA football games in UHD HDR. 

[Read: Dish Kicks Off 4K Broadcasts Of Fox Sports College Football]

To view the games in fuboTV’s 4K HDR10 Beta format, subscribers will need to have a 4K HDR-enabled television, HDMI 2.0/HDCP 2.2 compatible cable and run the fuboTV app on a streaming device that supports the format, which includes Android Mobile Phones with HDR10 displays and Apple TV, Chromecast, Fire TV and Roku devices. Bandwidth speeds of 30Mbps-40Mbps or higher are recommended. 4K HDR-capable TVs may also need calibration to present the content correctly. For subscribers without 4K HDR hardware, this content will continue to be available in its usual formats.

fuboTV says it will also offer additional sports and, for the first time, entertainment programming in 4K HDR Beta in the coming months. 

NEW YORK--CBS Corporation and the National Football League have announced an extended agreement to stream all NFL ON CBS games on “CBS All Access” through the 2022 season. CBS will also now expand its NFL game streaming access for “CBS All Access” subscribers and TV Everywhere to include mobile devices beginning this season, adding to its distribution across other connected device platforms.

The entire 2018 NFL ON CBS schedule, highlighted by Super Bowl LIII, will be streamed live on all “CBS All Access” platforms, including on mobile devices via the CBS App for iOS, Android and Windows 10, online at CBS.com, and on connected devices including Roku Players, Apple TV, Chromecast, Android TV, Xbox One, PlayStation 4, Fire TV, Samsung Smart TVs and Amazon Channels. “CBS All Access” subscribers will receive the NFL ON CBS games that are broadcast in their local market.

[Read: CBS All Access Scores NFL Games]

In addition to extending “CBS All Access” streaming rights to mobile devices for the first time, NFL ON CBS authenticated streaming rights will extend to mobile for its cable, satellite, telco and vMVPD partners beginning this season.

CBS began streaming NFL ON CBS games to “CBS All Access” subscribers on connected TVs, tablets and computers during the 2016 season. 

SAN JOSE, Calif. — Apple this week began giving developers a preview of its tvOS 12 operating system, which adds to Apple TV 4K support for Dolby Atmos audio, new features to make it easier to access shows and movies and aerial shots from space.

The preview is available to members of the Apple Developer Program online. Apple plans to make tvOS 12 available as a software update for Apple TV 4K and Apple TV fourth generation in the fall.

[Read: Apple Intros Apple TV 4K]

According to Apple, by fall iTunes will be the home of the largest collection of Dolby Atmos-supported movies. With tvOS 12, Apple TV 4K will be the only streaming player to be Dolby Vision and Dolby Atmos certified, Apple said.

Charter Communications this week announced it will begin offering Apple TV 4K later in the year, providing nearly 50 million households to live channels and on-demand programs via a new Spectrum TV app on their Apple TV 4K, iPhone and iPad devices. The new Spectrum TV app integrates with Siri and the Apple TV App, according to Apple.

Among the new features available via tvOS 12 are:

• Single sign-on for Apple TV and iOS to access all video apps available via a cable subscription;
• Simplified authentication requiring no sign-on based on Apple TV detecting a user’s broadband network;
• 4K HDR shots from space taken by NASA astronauts;
• Secure AutoFill passwords from iPhone and iPad to Apple TV to sign in to Apple TV apps;
• Automatic addition of the Apple TV Remote to the Control Center on iPhone or iPad for Apple TV users;
• Apple TV control from systems like Control4, Crestron and Savant with support for Siri voice search and control.

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Television use grew in April for the second straight month, thanks to a huge increase in viewing on connected devices.

Despite the talk during last week's upfront presentations about reducing commercial loads to advertisers, the amount of commercial content rose 2.4 percent in April to 11.1 minutes per hour,

Overall viewing was up 1 percent in April, according to an analysis of Nielsen data by Brian Wieser of Pivotal Research Group. Viewing was down, however, among adults 18 to 49, a key demographic for ad sales, by 3 percent.

Consumption on connected devices such as the Roku platform, Apple TV and Chromecast was up 38 percent from a year ago. Such over-the top viewing accounted for 9.7 percent of all viewing and 14.4 percent among adults 18 to 49.

 Viacom had the largest share of C3 commercial impressions at 15.6 percent, although that was down from 15.8 percent a year ago.  

Commercial impressions were down among viewers in the 18 to 49 demographic by 3.3 percent in primetime and by 6.4 percent in total day. Commercial impressions were up at Time Warner- and Disney-owned networks thanks largely to the NBA playoffs.

“Overall, our interpretation is that while TV in its totality may be relatively stable, results remain negative for ad-supported national TV as a medium, consistent with recent trends,” Wieser said.

“Viewing of unrated programming through internet-connected devices and of premium video on PCs, tablets and mobile phones [is] undoubtedly accounting for some of these declines, and probably would bring year-over-year trends closer to flat figures if related data were included in standard measures of viewership,” Wieser said, adding, “However, it doesn’t seem likely that this data will be included in any comprehensive, industry-wide total audience metric any time soon.”  

HERTFORDSHIRE, UK--Global consumer spending on entertainment content—including TV, video, music and games—will reach $439 billion by 2021, according to a new report from From Futuresource Consulting. The trend, outlined in the U.K. research firm's “Global Entertainment Content Outlook” is fueled by the use of smartphones, and represents a 17 percent increase over 2017 spending levels.

Subscription Video on Demand (SVoD) services, such as Netflix, Amazon Prime Video and Hulu, are rapidly dominating the home video entertainment sector, including DVD, Blu-ray, VoD, SVoD, and EST (Electronic Sell-Through). While this sector was just 13% of consumer home video spending in 2013, by the end of 2017, SVoD alone comprised almost half of the $42 billion spent worldwide.

Global SVoD subscription spending, estimated at $19 billion in 2017, is expected to rise at a compound annual growth rate (CAGR) of 15% between 2017 and 2021, when it will account for 70 percent of total home video spending, largely due to households taking multiple services.

[Read: The Top 10 Tech Trends For 2018: Juniper Research]

Yet, SVoD still pales when compared to PayTV, which is a $200 billion global market, with U.S. spending alone accounting for half. The Futuresource report identifies bundling PayTV services with broadband/telephony, the early availability of premium content, and access to exclusive fare like sports as key factors driving its appeal.

For consumers that want to bundle their own TV content, services like Hulu, YouTube, Sony PlayStation, DirecTV and Xfinity had sold 4.8 million PayTV Lite subscriptions in the U.S. by 2017, and the trend continues.

Since offering compelling content is key to driving consumer spending on entertainment video services, the report indicates that mergers and acquisitions (M&A) are on the rise, and cites Comcast’s bid for Sky and Disney’s move to acquire 21 Century Fox as evidence that global media conglomerates are seeking to broaden their audience and market reach. And, all combined, the FAANG (Facebook, Apple, Amazon, Netflix and Google) companies are expected to spend $20 billion on video content in 2018 to gain a competitive edge. 

KANATA, ONTARIO—Canadian-based company Tablo has landed on the latest generation of Apple TV, as the company announced a new native app that will appear on Apple TV devices that work in tandem with Tablo’s over-the-air HDTV DVR. The new app, which launched on Friday, June 17, enables users to discover, record and stream live TV and playback recorded shows and movies through the Apple TV, according to Tablo. The new app also features an integrated voice navigation system.

Read the full story on TV Technology’s sister publication Multichannel News. 

NEW YORK—TV metric provider Nielsen announced that, effective April 25, 2016, it will make brand-level data for streaming video devices and game consoles available. The sampling will include connected peripherals such as Xbox, Roku, Apple TV, Amazon Fire TV, Chromecast, PlayStation, Nintendo and Wii boxes. In addition, Nielsen will add information from enabled smart TVs.

Clients will be able to track how many homes across the country own TV-connected devices, which brands that they own, and the growth of these brands over time. Clients will also be able to study how much time people spend with these devices overall and, for Nielsen measured content, link viewing to programs to these specific devices.

This new data is from Nielsen’s national television panel. The 40,000 households that comprise the National panel contain over 100,000 TV sets and over 50,000 TV connected devices measured by Nielsen, the firm said.

In addition to brand-level data, Nielsen is creating a new viewing source bucket called Total Use of Television that adds TV-connected device usage to traditional television usage for a complete view of the use of the TV set.

“The granularity of the brand-level data for TV-connected devices provides clients with in-depth insights into which devices consumers are using to access video content through their TV screens,” said Sara Erichson, executive vice president of Client Solutions and Audience Insights for Nielsen. “The ability to know how many consumers use which brands of TV connected devices, for how often and for how long, is critical for clients who need to make informed content decisions and understand their total audience.”

SAN JOSE, CALIF. – TiVo is getting in on the streaming game, announcing that users can now stream recorded shows to Apple TV through AirPlay. With the updated TiVo iOS app, recorded content from TiVo Roamio or Premiere DVRs can now play on an Apple TV through an iOS device connected on the same network.

The content can be streamed to Apple TV by enabling AirPlay through the iOS control center, selecting Apple TV from the menu and then hitting the “mirroring” button, providing users with a multi-screen experience.

TiVo’s latest version of its iOS app, featuring the AirPlay feature, is now available in the App Store for free.