Editing Video on demand (section)

===Advertising video on demand===
Advertising video on demand (AVOD) uses an advertising-based revenue model. This allows companies that advertise on broadcast and cable channels to reach people who watch shows using VOD. This model also allows people to watch content without paying subscription fees. [[Hulu]] was a major AVOD company before ending its free service in August 2016, transferring it to [[Yahoo! View]] using the existing Hulu infrastructure. [[Crackle (service)|Crackle]] has introduced a series of advertisements for the same company that ties into the content that is being watched.<ref>{{cite journal|title=For Ad VOD Players, Success Is Blend of Linear, Digital Models|last=Baysinger|first=Tim|journal=[[Broadcasting & Cable]]|date=15 August 2016|page=18}}</ref><ref>{{cite journal|title=Tech Tweets|journal=Broadcasting & Cable|date=15 August 2016|page=23}}</ref>

Ad-Supported Video on Demand (ASVOD) refers to video services that provide free content supported by advertisements.<ref name="videa.tv"/> Popular services include [[Pluto TV]], [[Xumo]], the [[Roku]] Channel, [[Samsung TV Plus]], [[Amazon Freevee]], [[Popcornflix]], [[Crackle (service)|Crackle]], [[Tubi]], [[Movies Anywhere]], [[Vudu]], [[Dailymotion]], and [[YouTube]].<ref>{{Cite web|url=https://www.cordcuttersnews.com/the-roku-channel-is-the-most-popular-free-streaming-service-beating-out-pluto-tv-crackle-tubi-2018-cordie-awards/|title=The Roku Channel Is the Most Popular FREE Streaming Service Beating Out Pluto TV, Sony Crackle, & Tubi (2018 Cordie Awards)|last=Bouma|first=Luke|date=23 December 2018|website=Cord Cutters News|language=en-US|access-date=24 December 2018|archive-date=23 December 2018|archive-url=https://web.archive.org/web/20181223174932/https://www.cordcuttersnews.com/the-roku-channel-is-the-most-popular-free-streaming-service-beating-out-pluto-tv-crackle-tubi-2018-cordie-awards/|url-status=live}}</ref> Walmart is adding ASVOD original programming to Vudu, and YouTube Originals will be ASVOD by 2020.{{update inline|date=March 2022}}<ref name="smartbrief.com"/>

'''Data analysis'''

When technology companies, include SVOD apps on their devices, like phones, tablets, televisions, game systems, computers, this can remove an attitude obstruction for a user to view content.<ref name=":0">{{cite journal| url=https://doi.org/10.1080/08997764.2020.1796687| doi=10.1080/08997764.2020.1796687| title=IDEA FORUM: The impact of subscription-based video on demand on traditional distributors' value chains and business models| year=2018| last1=Clement| first1=Michel| last2=Otten| first2=Cord| last3=Seifert| first3=Rouven| last4=Kleinen| first4=Ole| last5=Houston| first5=Mark B.| last6=Karniouchina| first6=Ekaterina V.| last7=Heller| first7=Christoph| journal=Journal of Media Economics| volume=31| issue=1–2| pages=50–67| s2cid=221299615}}</ref> This technology also provides an advantage for technology companies for data analysis of viewed content from consumers.<ref name=":0" /> By analyzing data of what is viewed most by consumers, companies can purchase more content that is aimed for an audience, and then in-turn market products that are based on what viewer profiles are of a group of consumers who viewer a specific amount of content.<ref name=":0" /> This data analysis will often provide researchers valuable data that includes: what was watched, when it was watched, what they watched after watching, and even how many people watched the same video at the same time in a day, month, and even year.<ref>{{cite journal| url=https://doi.org/10.1007/s11390-016-1684-9| doi=10.1007/s11390-016-1684-9| title=CPA-VoD: Cloud and Peer-Assisted Video on Demand System for Mobile Devices| year=2016| last1=Cheng| first1=Lei-Gen| last2=Cui| first2=Laizhong| last3=Jiang| first3=Yong| journal=Journal of Computer Science and Technology| volume=31| issue=6| pages=1087–1095| s2cid=255169269}}</ref>

'''Economics of SVOD'''

Attendance in movie theaters had declined during the 2020 COVID-19 pandemic.<ref name=":1">{{Cite web |last=Adgate |first=Brad |title=The Impact COVID-19 Had On The Entertainment Industry In 2020 |url=https://www.forbes.com/sites/bradadgate/2021/04/13/the-impact-covid-19-had-on-the-entertainment-industry-in-2020/ |access-date=2023-07-13 |website=Forbes |language=en}}</ref> Worldwide in 2019, theatrical entertainment reach 11.4 billion dollars, but in 2020, it was only 2.2 billion.<ref name=":1" /> Due recovery efforts to increase those attendance numbers, along with the growing amount of marketing that is need to gain the attention of an audience, pinning down an exact budget for a film production can be difficult.<ref name=":2">{{Cite web |title=How Exactly Do Movies Make Money? |url=https://www.investopedia.com/articles/investing/093015/how-exactly-do-movies-make-money.asp |access-date=2023-07-13 |website=Investopedia |language=en}}</ref> Video on demand can have three release strategies that include: day-and-date (instantaneous release in theaters and on VOD), day-before-date (VOD before theatrical viewing), and VOD only.<ref name=":2" /> Production studios can make revenue on these types of releases until sales start to slow.<ref name=":2" /> After that, film companies can then license the content to other streaming services and, temporarily, make extra income like that too.<ref>{{Cite web |last= |date=2020-10-30 |title=How do Netflix movies make money? |url=https://netflixlife.com/2020/10/30/how-do-netflix-movies-make-money/ |access-date=2023-07-13 |website=Netflix Life |language=en-US}}</ref>

In a reflection made by 2013 Netflix Chief Content Officer, [[Ted Sarandos]], he was quoted saying, "When we launch in a territory the [[BitTorrent]] traffic drops as the Netflix traffic grows."<ref name=":3">{{cite journal| url=https://doi.org/10.1016/j.jebo.2019.03.017| doi=10.1016/j.jebo.2019.03.017| title=Experimental evidence on demand for "on-demand" entertainment| year=2019| last1=McKenzie| first1=Jordi| last2=Crosby| first2=Paul| last3=Cox| first3=Joe| last4=Collins| first4=Alan| journal=Journal of Economic Behavior & Organization| volume=161| pages=98–113| s2cid=159448708}}</ref> This can be valuably interpreted as in that online piracy numbers drop the more that SVOD companies grow, which in turn means more revenue going back to the production companies.<ref name=":3" />

'''Behavior detrimental to SVOD revenue'''

Online piracy is detrimental to production companies that produce digital content.<ref name=":4">{{cite journal| url=https://doi.org/10.1287/mnsc.2017.2875| doi=10.1287/mnsc.2017.2875| title=The Effect of Subscription Video-on-Demand on Piracy: Evidence from a Household-Level Randomized Experiment| year=2018| last1=Godinho De Matos| first1=Miguel| last2=Ferreira| first2=Pedro| last3=Smith| first3=Michael D.| journal=Management Science| volume=64| issue=12| pages=5610–5630| s2cid=58008075| hdl=10400.14/33147| hdl-access=free}}</ref> In a study that offered BitTorrent users a free SVOD subscription, the results of the research provided readers with information that show download and upload speeds in those homes decreased with a free subscription, but it could not prove decreased use in BitTorrent software.<ref name=":4" />