Funding and circulation of audiovisual content.

1. Funding and circulation of EU works
Trends and challenges
November 2017
Gilles Fontaine
Head of Department for Market Information

2. PRODUCTION FUNDING

3. Production:
key points
DIRECT SPENDINGS FOR FILMS ARE DECREASING
FUNDING BY AV SERVICES MORE AND MORE IMPORTANT
BUT FILMS AND TV SERIES MAY BE COMPETING FOR BROADCASTERS
AND SVOD FUNDING

4. Film
production
FILM PRODUCTION INCREASES FASTER THAN CINEMA REVENUES
EU films produced and admissions
OEA/LUMIERE

5. Direct
spendings
for films
MOREOVER, DIRECT SPENDINGS OF CONSUMERS FOR FILM ARE
DECREASING
Consumers’ direct spendings for AV content in the EU (mEUR)
OEA

6. Indirect
spendings
for film
THEREFORE, AV SERVICES FUNDING INCREASINGLY IMPORTANT.
BUT TV PUBLIC FUNDING AND TV ADVERTISING ARE UNDER PRESSURE
Revenues of AV services in the EU (mEUR)
OEA

7. Films vs.TV
fiction
AND FILM AND TV FICTION MAY BE COMPETING FOR BROADCASTERS’
MONEY
FILM
1 107 fiction films
≈ 2 200 hours
TV FICTION
1 000 titles
16 600 episodes
11 000 hours
TV FICTION
(excluding soaps and telenovelas)
930 titles
4 500 episodes
3 800 hours
Vs. ?

8. CIRCULATION

9. Circulation:
Key points
DESPITE A LOW SHARE OF CATALOGUES, MANY (NON-NATIONAL) EU
FILMS ALREADY AVAILABLE IN TVOD, IN PARTICULAR COPRODUCTIONS
ONLY A SMALL MINORITY CAN BE ACTIVELY PROMOTED BY SERVICES
IT’S NOT ONLY ABOUT QUOTAS: AUDIENCE BUILDING NEEDED BEYOND
THE PLATFORMS
NON-EU MARKETS MATTERS

10. EU FILMS ACCOUNT FOR 24% to 47% OF FILMS AVAILABLE
THE MAJORITY ARE NON-NATIONAL FILMS
TVOD is
proportionally
less EU films
friendly than
cinemas Share of EU films by window - 2016
OEA

11. Films vs.TV
fiction
THE APPETITE FOR EUROPEAN NON-NATIONAL FILM VARIES BETWEEN
COUNTRIES
OEA

12. Co-
productions
COPRODUCTIONS ARE (OBVIOUSLY) A KEY DRIVER OF EXPORTS
22% of films produced… …over 40% of Non-national films available
OEA

13. TVOD
expands the
potential
reach
EVEN IF THE SHARE OF EU FILMS IS LOW, TVOD DRAMATICALLY
INCREASES THE NUMBER OF EU FILMS POTENTIALLY ACCESSIBLE
OEA
Number of EU films by window – 2016 (units)

14. 10 most promoted
films get 38% of
promotional spots
VISIBILITY TO EU FILMS IS GRANTED IN PROPORTION OF THEIR
AVAILABILITY
BUT A LIMITED NUMBER OF FILMS GET MOST OF THE PROMOTION
Visibility is
highly
concentrated
Availability and visibility of EU films in TVOD - 2016
OEA

15. Exports
outside
Europe
EXPORTS OUTSIDE EUROPE MATTER:
50% OF NON-NATIONAL ADMISSIONS OUTSIDE EUROPE
OEA/LUMIERE
Breakdown of admissions to EU films - 2016

16. IMPACT OF DIGITAL: NEXT STEPS

17. Key issues
WHO WILL WIN THE TV ADVERTISING BATTLE ?
CONSOLIDATION: WHAT AND WHO ?
PLATFORMS: STUDIOS OR DISTRIBUTORS ?
Key issues

18. Thank you!
www.obs.coe.int
gilles.fontaine@coe.int