Have you identified any recent changes to viewing onboard habits?
We are seeing a lot of queries about content accessibility, different subs and dubs. This corresponds with on-the-ground availability – with streaming services making multiple language options available for most pieces of content.
In terms of viewing habits, I think viewers are now overwhelmed by not only the choice of content but also the different experiences they can get – this is both onboard and on the ground! It’s hard to know what to go for.
Curation, variety and clear, coherent signposting are the most important thing and it’s not always easy for airlines to do this – especially on legacy systems.
Why is it attractive to filmmakers to have their work available on aircraft?
A lot of independent films are not widely released – certainly not in every territory. For a filmmaker, the prospect of getting an inflight distributor onboard (excuse the pun!) means there is a chance their film will reach global audiences that might otherwise never encounter their film.
What are the pinch points in getting fresh, original content onboard?
It’s a balance between interesting and broad appeal. We are not offering content to a specialised audience of, for instance, blockbuster lovers only, or art house cinema enthusiasts only. We are here to appeal to as wide an audience as possible, but to compete with the studios, we have to be offering something which will stand out.
The other major consideration is suitability – getting films which are or can be made to comply with various different and sometimes very stringent editorial guidelines, with permission from filmmakers.
This is where our experience as both airline programmers and distributors really pays off! We would also say, with our distributor hat on, it’s hard sometimes to get space devoted to independent cinema – THE freshest and most original! – with so many bulk studio deals around. I think it’s worth for airlines to remember to offer unexpected, hidden gems.
To what extent are technological developments impacting onboard viewing habits?
There goes the last safe haven where we could completely ignore our responsibilities, shielding behind the perfectly valid excuse of being totally incommunicado!
I think viewing habits could well be impacted, but it’s on us distributors and the airlines themselves to ensure there is a fresh, interesting and well editorialised offering to encourage passengers to engage with the IFE programme.
To what extent is AI now being used to label and caption your IFE content?
We continue to rely on human translators and transcribers to subtitle and caption our content. This ensures both quality and cultural sensitivity – particularly important for international audiences.
How are technological changes impacting the frequency with which content can be loaded?
We have not yet seen any of our clients request late-load content, likely because the type of content we provide isn’t as time-sensitive as live sports or news. However, we’re monitoring developments and remain ready to adapt if expectations shift.
Is there anything else you’ve noticed?
We’re seeing younger audiences demonstrating a remarkably broad and mature range of content preferences – just as diverse as those of older viewers. In some ways, passengers are more adventurous than the IFE offerings currently available. More indies are required, for sure.
