Film heritage in the digital era eao - g fontaine - july 2016

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1. The Exploitation of Film Heritage Works in the Digital Era European Film Forum Festival del Cinema Ritrovato Bologna, 30 June 2016 2. Agenda Definitions &…
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  • 1. The Exploitation of Film Heritage Works in the Digital Era European Film Forum Festival del Cinema Ritrovato Bologna, 30 June 2016
  • 2. Agenda Definitions & Methodology The exploitation of film heritage • Cinemas • TV • DVD • VOD Is VOD (really) an opportunity ?
  • 3. Film heritage works / (back)catalogue films? A problematic definition: • >10 years old • criteria such as historical or aesthetic value are not considered
  • 4. The exploitation of film heritage: key figures
  • 5. Film heritage works in cinemas
  • 6. Catalogue films are about 22% of total films on release in the EU, when considering unique films. OBS LUMIERE
  • 7. Catalogue films are about 4% of total films on release in the EU when considering cumulated titles with more than 1000 admissions
  • 8. The circulation of film heritage (≥ 1 000 admissions) has improved since 2004. • Film heritage works (≥ 1 000 admissions) are released on average in 1.7 countries, whereas films in general are released in 3.7 countries. 2 004 2 010 2 011 2 012 2 013 2 014 Avg 2010-2014 All films 2,6 3,8 3,7 3,7 3,7 3,8 3,7 Film heritage 1,5 1,7 1,5 1,7 1,8 1,9 1,7 OBS LUMIERE
  • 9. The proportion of European film heritage on release is lower than for films in general European films account for 41% of the catalogue films on release (≥ 1 000 admissions), down from 50% in 2004. OBS LUMIERE
  • 10. The US share of catalogue films on release is growing due to a better circulation In 2004, European and US catalogue films (≥ 1 000 admissions) were released on average in the same number of EU countries (1.6). But this figure increased for US film heritage works whereas it remained stable for European catalogue films. Average number of countries of release for film heritage works 2 004 2 010 2 011 2 012 2 013 2 014 Avg 2010-14 All film heritage works 1,5 1,7 1,5 1,7 1,8 1,9 1,7 European films 1,6 1,6 1,4 1,3 1,5 1,7 1,5 US films 1,6 1,7 1,6 2,1 2,0 2,1 1,9 OBS LUMIERE
  • 11. Cinemas: Admissions to film heritage works are relatively stable since 2004 Between 2010 and 2014, catalogue films accounted on average for about 6 million admissions in the European Union. OBS LUMIERE
  • 12. Cinemas: the age of the top grossing catalogue films vary significantly across the years OBS LUMIERE
  • 13. Cinemas: a concentrated market The top 3 markets represent over 70% of total admissions Share of the top 3 countries of admissions to film heritage works on release in the EU. 2004 2010 2011 2012 2013 2014 Avg 2010-14 Share of top 3 countries 86% 74% 77% 64% 71% 74% 72% Country 1 FR ES GB GB FR GB Country 2 GB FR DE FR GB FR Country 3 CZ GB FR DE IT IT OBS LUMIERE
  • 14. Cinemas: a concentrated market The market for film heritage is also increasingly concentrated in terms of films. Share of the top 10 films of admissions to film heritage works on release in the EU 2004 2010 2011 2012 2013 2014 Avg. 2010-14 Share of top 10 films 37% 67% 82% 88% 63% 47% 70% OBS LUMIERE
  • 15. Cinemas: US film heritage works register a much higher share of admissions (81% on average between 2010 and 2014) than their share of the number of catalogue films on release (46%). Films ≥ 1 000 admissions. OBS LUMIERE
  • 16. Film heritage works on TV
  • 17. Television: 47% of films broadcast are catalogue films MEDIAMETRIE 2011-2012 2014-2015 All day - including rebroadcasts 44% 47% All day - unique titles 52% 52% Prime-time - unique titles 41% 43%
  • 18. Television: the number of catalogue films broadcast has increased, due to more repeats Variation in the number of films broadcast between the 2011-2012 and the 2014-2015 seasons All films Film heritage works All TV - All day Multiple broadcast 12% 24% All TV - All day Unique Broadcast -2% -1% All TV - Prime time Multiple broadcast 6% 20% MEDIAMETRIE
  • 19. Television: the share of EU films is slightly lower for film heritage than for films in general MEDIAMETRIE 16% 14% 65% 5% All films National EU non-national USA Others 17% 11% 70% 2% Film heritage National EU non-national USA Others
  • 20. Television: 57% of catalogue films broadcast were produced between 10 to 29 years ago MEDIAMETRIE
  • 21. Film heritage works on DVD
  • 22. Do DVDs still have a future for film heritage? • The physicality of DVD box sets still appeals to collectors and film lovers; • The technical quality offered by digitisation is an added value. However: • Niche, cinephile market. • Territory-specific consumers habits.
  • 23. Film heritage works on VOD
  • 24. VOD: A new window for film heritage Types of on demand services: • Transactional video on demand (TVOD). • Subscription video on demand (SVOD). • Free video on demand.
  • 25. VOD: Catalogue films already represent a significant proportion of film available in TVOD 40% of cumulated titles on TVOD services OBS
  • 26. … and in SVOD OBS 47% of cumulated titles on SVOD services
  • 27. SVOD services propose more recent catalogue films than TVOD services OBS Breakdown by age of production of catalogue films
  • 28. Over 70% of catalogue films in TVOD/SVOD are non-European A similar share than for film in general Less EU film heritage works make it from cinemas to on-demand When released in VOD, EU films were available in significantly less countries (2) than US films (8).
  • 29. Limited visibility on on-demand services On-demand services actively promote a limited number of recent films, implying that film heritage only benefits from a very small share of the promotional spots (3%). Among these 3%, only 23% refer to EU film heritage. OBS, MEDIAMETRIE DE FR UK Averag e Number of promotional spots 8316 6671 10024 8337 Of which spots allocated to films produced before 2006 416 117 120 218 Share of promotional spots for films aged 10 years or more 5% 2% 1% 3%
  • 30. Comparing cinemas, TV and on-demand
  • 31. VOD in perspective with cinema and television TV and SVOD rely more on film heritage than cinemas and TVOD OBS, MEDIAMETRIE
  • 32. Cinemas propose a higher share of EU film heritage works than TV, TVOD and SVOD Share of EU 28 films among catalogue films in cinemas, TV, TVOD and SVOD (unique and cumulated). OBS, MEDIAMETRIE
  • 33. Catalogue films released in SVOD tend to be more recent than those on TVOD, TV or in cinemas Share of film heritage works aged 11 to 19 years among catalogue films in cinemas, TV, TVOD and SVOD (cumulated) OBS, MEDIAMETRIE
  • 34. Is VOD (really) a new opportunity ?
  • 35. Pressure on “traditional markets” • Increasing competition from US catalogues films • More territories with private players active in film heritage but a bottleneck in cinemas - > Low level of admissions per film • New “small” free-to-air channels heavily rely on catalogue films -> Larger “traditional” broadcasters disengage from film heritage -> Prices are much lower • The DVD crisis: the “core” target of cinephiles may be preserved but the other segments are suffering.
  • 36. Mainstream or niche on-demand services ? Vision 1: Mainstream on-demand services: challenge for visibility Vision 2: Film heritage as a specific genre of independent films Vision 3: Film heritage should be marketed over specific services => SVOD is a better model than TVOD
  • 37. Pan-European distribution • Tastes are fragmented • Only a few -US – services may provide “pan- European distribution” • Critical size is needed to access these platforms, either directly or through an aggregator. And film heritage is not their core business ! • Accessing other national on-demand services is complex (commercial negotiations, technical requirements, right clearance) • Services e.g. EuroVOD representing another way to go with pan-European distribution
  • 38. The cost of promotion • Release in cinemas seems to be key at the moment to reach on-demand platforms • Once in VOD platforms, intensive marketing/promotional effort is needed: • Curatorial and programming strategies (extra contents, interviews, etc) • Creative marketing, e.g. “film as a live event” (Secret Cinema, BFI). • Media literacy activities. • Exposure over multiple channels. • Engaging communities through social media.
  • 39. No VOD-only strategy • No recoupment of restoration costs through a VOD-only distribution • Multichannel distribution still necessary • To generate revenues • For cross-promotion
  • 40. Key take-aways • More interest in more countries for film heritage • But pressure on the traditional markets • VOD cannot be a stand-alone exploitation model (yet) • Access to VOD is a challenge but marketing if even a bigger one. • Pan-European distribution remains a challenge
  • 41. Thank you! For any queries:: gilles.fontaine@coe.int
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