1. The Media Development Authority conducts the annual Media Consumer Experience Study and Zero-to-Fourteen Consumer Experience Study to keep its finger on the pulse of local consumers’ media consumption habits and preferences, and to assess their satisfaction with the media services and content standards. With the growth in online content services, MDA also launched its inaugural Over-The-Top Video Consumer Study this year to measure viewing habits and usage of such platforms.
Key findings from Media Consumer Experience Study
2. The fourth edition of the Media Consumer Experience Study (MCES) was conducted between October and December 2015 with a sample size of 2,000 Singapore Citizens and Permanent Residents aged 15 to 65. The summarised key findings were:
a. Consumers were generally satisfied with local media services and content classification standards
– Satisfaction with media services scored 76.6% in 2015, up from 75.7% in 2014. In particular, respondents recorded an improvement in satisfaction with the quality and variety of media content, and customer service standards.
– There was also an improvement in satisfaction levels with content standards, rising to 74.1% in 2015 from 72.4% a year earlier.
b. Media consumption habits remained consistent over the last few years
– Watching Mediacorp channels remained as the top media activity in terms of time spent at 17.4 hours per week. This was followed closely by viewing media via websites and apps at 17.3 hours per week.
– Respondents generally relied on traditional media to discover TV shows, and digital media for online content.
– Most respondents (99.1%) who watch Mediacorp TV watched the platform at least monthly.
– The subscription rate of Pay TV services recorded a marginal decline to 68.2% in 2015, from 69.3% in 2014.
Key findings from Over-The-Top (OTT)1 Video Consumer Study
4. MDA’s OTT Video Study is aimed at providing insights into OTT video usage patterns, viewing preferences and habits among consumers. A total of 2,585 Singaporeans and Permanent Residents aged 65 and below were interviewed between October and November 2015.
a. More than half of those polled accessed online content
– More than half of consumers (54%) have watched online videos. This number was the highest among millennials (aged 15 to 34) at 89%.
– The most used online video services were YouTube (96%) and social networks such as Facebook and Instagram (59%).
Younger OTT viewers spent a greater proportion of their viewing time on online videos compared to traditional TV (Children – 65%, Millennials – 61%, Adults aged 35 to 54 – 48%, Adults aged 55 to 65 – 43% of their total viewing time).
b. Viewing preferences & habits
– The top genres of online videos were Drama (40%), Movies (25%), Sports (10%), and Entertainment & Variety (8%) for adults; and Animation & Cartoons (59%) for children.
– Online videos were most frequently consumed on mobile phones for adults (41%), while the most frequently used device varied for children according to their age. For example, children below 6 years old preferred watching videos on the tablet while those between 11 and 14 years old preferred the smartphone and the computer.
– Multitasking on a second screen was a more common behaviour in millennial OTT viewers (60%), and OTT viewers aged 11 to 14 (58%).
– Only 11% of adult OTT viewers were paying for online videos. Majority of those paying (67%), were doing so on top of their existing pay TV subscription and made no changes to their pay TV subscription. ost used online video services were YouTube (96%) and social networks such as Facebook and Instagram (59%).
1 Over-The-Top refers to the delivery of content to local consumers via the Internet onto Internet-enabled devices such as smartphones, tablets, and connected TVs.
The Programme Advisory Committees (PACs) are advisory bodies set up by the Media Development Authority (MDA) to provide community feedback on the range and quality of TV and radio programmes, as well as advice on content standards in programmes and advertisements on the broadcast platforms.
There are currently four broadcast PACs, namely the Programme Advisory Committee for English Programmes (PACE), Advisory Committee for Chinese Programmes (ACCESS), Indian Programmes Advisory Committee (IPAC), and Malay Programmes Advisory Committee (MPAC).
The Committees’ Work and New Areas of Focus
For the first time, the PACs conducted combined meetings to discuss common issues that spanned the four languages in order to take a more holistic view on programmes.
Combined PAC Annual Report
The PACs will henceforth issue consolidated annual reports which will highlight common observations across the four committees, capture language specific observations and provide recommendations for the industry and the MDA.
COMMITTEES’ KEY OBSERVATIONS
Higher production values, with some progress in standard of research
Within each language, the PACs noted progress in terms of more programmes with higher production values. Members saw more programmes which stood apart from other local productions in terms of higher technical standards, post production values (e.g. visual treatment, effects), better standards of research and/or level of realism in productions.
Several examples were cited. The third season of Channel 8’s police drama, C.L.I.F 3 <<警徽天职 3>>, based on real life police cases, was realistic and had well conceived art direction.
New platforms for PSB
The PACs welcomed the fact that viewers could watch local PSB (Public Service Broadcast) programmes on more platforms such as Toggle and xinMSN.
The “PAC Choice” takes reference from the concept of “PACE Choice”, which the PACE included as part of their earlier reports to recognise well-made English PSB programmes.
Accordingly, this list features 50 PSB programmes (or local content) across languages identified by members as being well-conceived and produced on the whole. Members responded to areas including creativity and freshness of ideas, presentation format, meaningful subject matter and overall engagement and informative value.
Members intend for the list to serve as an encouragement to the producers and an endorsement of what is regarded as positive examples of quality PSB programmes.
The titles listed below are in no particular order of merit.
C.L.I.F, Season 3 <<警徽天职 3>> (Ch 8, Drama, MediaCorp Studios)
The third season of the police drama was a commendable collaboration between MediaCorp and Singapore Police Force in incorporating true-to-life police cases to deliver realism in the series.
Kudos, Accolades & Awards
Congratulations to all the Singapore winners at the recently concluded 17th Asian Television Awards 2012 red carpet event, held on 6 Dec in Singapore!
Amongst the winners were local production companies:
– ThreeSixZero Productions (“Let’s Talk 2” and “Extraordinary Asian: Episode 1 – Angel Mums”),
– The Moving Visuals Company (“Junkie Monastery”),
– Scrawl Studios Pte Ltd (“Guess How Much I Love You”),
– Tiny Island Productions and partners (“Ben 10: Destory All Aliens”),
– Refinery Media Company (“Supermodel Me Season 3”),
and their respective broadcasters.
MediaCorp was “Highly Commended” in the category for Terrestrial Broadcaster of the Year.
Actresses Michelle Chong (“The Noose” Season 5) and Rui En (“Unriddle II”) were the winners for Best Comedy Performance by an Actor/Actress and Best Actress in a Leading Role, respectively, and actor Devarajan Varadarajan (“Point of Entry” Season 2) was Highly Commended. Meanwhile, Galen Yeo & Ian White (“Junkie Monastery”) won Best Direction.
(II) SUMMARY OF KEY RECOMMENDATIONS
Overseas collaborations to support cross-cultural efforts
ACCESS found the recent collaborations between MediaCorp and Malaysia in several drama productions featuring Malaysian locations and cast, such as “正义武馆” (“Code of Honour”) and “渔米人家” (“The Seeds of Life”) to be refreshing.
(III) OBSERVATIONS ON AND RECOMMENDATIONS FOR THE RANGE AND QUALITY OF CHINESE PROGRAMMES
18 The Committee was heartened to note that the primetime slot of 7pm, has been occupied by local content since the Taiwanese drama “爱” (“Love”) ended its run. It is glad to see productions such as “甘榜情” (“Kampong Ties”) and “正义武馆” (“Code of Honour”) during this drama slot, which also incorporated Malaysian locations and cast. ACCESS encouraged MediaCorp to be pro-active in looking out for opportunities for overseas collaborations in order to harness resources beyond Singapore.
20 Of the local dramas produced over the past two years, the Committee found the following to be of the best quality: “四个门牌一个梦” (“Love Thy Neighbour”) which explored social issues of concern to Singaporeans; “正义武馆” (“Code of Honour”) for its inspirational storyline and authentic historical setting; and “行医”(“The Oath”) for providing
a balance of viewpoints and exploring ethical dilemmas between from Western medicine and TCM.
Source: Media Development Authority ACCESS Report
(IV) OBSERVATIONS ON AND RECOMMENDATIONS FOR THE
RANGE AND QUALITY OF CHINESE PROGRAMMES
39 For local dramas, ACCESS indicated that it enjoyed Channel 8’s productions such as “书包太重” (My School Daze), “游戏人生” (Priceless Wonder) and “不凡的爱” (By My Side) for their exploration of the universal themes of friendship and family relationships. In particular, the Committee found that “游戏人生” (Priceless Wonder) and “不凡的爱” (By My Side) were valuable in creating awareness among viewers on social issues such as the ills of problem gambling and promiscuity, as well as the Acquired Immune Deficiency Syndrome (AIDS).