Industry Report: Distribution and exhibition
- Analysis of the European distribution industry's problems and the subsequent design of new strategies
The American VoD platform, which has had blinding success on the other side of the Atlantic, is exporting itself to Europe: annoying for some, suspicious for others. At least one thing is certain, Netflix is making the French media shake in its boots all the while revolutionising the means of distribution
"The challenge isn't getting your movie made. All it takes is a personal time commitment to the process and access to a credit card, a digital video camera, and a computer loaded with editing software. The challenge is actually getting your movie seen."
Community production and P2P network distribution continue to entice. A film, the first part of which was distributed via BitTorrent, will be counting on web users to finance its release in cinemas next year. And for the first time, the project includes the participation of a Hollywood actor.
Founder of Cinetic Media and co-founder of FilmBuff and Producers Distribution Agency, John Sloss reveals at Hot Docs’ industry centre 10 highlights to make film distribution and exhibition successful.
In just two years, the network of European distributors and practitioners has become one of the most interesting options to get closer to the emerging market of auteur cinema from Latin America for audiences who would not otherwise have access to it
The new series House of Cards has just been released on Netflix on February 1st. The DVD rental and online streaming giant is not the only one which is taking the plunge into making their own productions.
Riding a tidal wave of growth for subscription video on demand (SVOD), Netflix Inc. in 2011 surged past Apple Inc. to become the largest U.S. online movie service in revenue terms, according to a new IHS Screen Digest Broadband Media Market Insight Report.
For three intensive days from Monday March 26, the progressive digital media training organisation Hyper Island welcomed 15 media professionals to its London office to hear expert presentations. The intention - to find progressive methodologies for generating new revenue streams using the smartphone.
Besides its Cinema in Development and Cinema under Construction events, the 24th Rencontres de Toulouse also include a third activity for industry professionals from Europe and Latin America: the fourth edition of its CinémaLab.
A new report from the European Audiovisual Observatory and MEDIA Salles shows that around 18 500 digital screens had been installed in Europe by the end of 2011. This means that over 52% of European screens are now capable of digital projection, up from just 4% three years ago.
Beyond the classic speeches and platitudes that create unrest, real dangers are currently threatening the Old Continent' art and essai theaters. A tour to watch the film exhibition in six European countries.
The European Commission has published a Green Paper on the online distribution of audiovisual works in the European Union that investigates on opportunities and challenges towards a digital single market.
The DVD revenue from movies is down and the money to be made from new media is not yet making up the difference, which has increased the importance of the initial release of a film, producer and executive said Saturday at the Produced By Conference.
On the occasion of the 61st Berlin International Film Festival the European Audiovisual Observatory releases its first estimates for European cinema attendance in 2010. The Observatory estimates that total admissions in the European Union dropped by 2.0% to around 961 million tickets sold.
The European Audiovisual Observatory has just published a new IRIS Special report which examines current challenges to television archives in the digital era of online content. The report is the fruit of a workshop co-organised in April of this year by the Observatory and its partner organisation, the Amsterdam-based Institute for Information Law (IViR).
This new study examines the economics of the copyright industries and the specifics of digital delivery in the media market. It also considers the conditions needed to achieve a single market in cultural productions. The report sets out a number of recommendations to enable European AV companies to maximise on the digital shift in the context of the EU’s powerful regulatory and support instruments.
Ten independent distributors from ten different European countries discussed the potential of new technical formats, social community platforms and business models, during the initiative European Distributors: Up Next!
Niels Aalbæk Jensen, presented Movieurope, a Danish based VoD platform supported by the MEDIA Programme. Movieurope offers the largest selection of European feature films, documentaries and short films at a fixed price per month. "The revolution of the next years will be the possibility to plug your PC to the TV scree
Irina Ignatiew, Vice President of Telepool, and Paul Young, CEO of Cartoon Saloon, explained the relationships between the producers and the sales agent, taking the example of The secret of Kells. Telepool aims to fulfil the task that is required of international sellers: contributing to film financing by investing in an early stage or by helping producers to find other partners abroad.
The world sales agent on the film Irina Ignatiew explained the long process needed to present the movie in different markets and to sell it to different territories. The film was sold in most of the world countries (over 100) and worked very well in theatres in France and Benelux.
Lionel Marty of MoonScoop presents the distribution main opportunities and threats. On one side there is an emergence of new channels like IPTV, DTT, new successful genres like comedy with co-viewing potential and live action, on the other side there is a general decrease in revenues and more restrictions on advertising regulations.
The 13th Annual Conference, organised by Europa Cinemas saw the participation of more than 500 European professionals, to discuss the future for film theatres in moment when the transition to digital projection is taking place and competition is arising from other methods of film distribution, in the era of multiple platforms and the Internet.
The European Audiovisual Observatory and the Direction du développement des médias (France) are publishing a new study entitled Video on Demand and Catch-Up Television in Europe. This work offers professionals an up-to-date overview of recent developments and examines the various business models and strategies of the different types of player in both Europe and the United States.
The report initially portrays the European home entertainment sector in terms of breadth and depth by analyzing the practices and market trends in Europe and the role of the European audiovisual SMEs and works and then focuses on challenges and opportunities brought about by new distribution platforms.
Cinema Online – Past and Present assesses the feasibility of establishing a pan- European film portal that could lead to more collaboration among film stakeholders in the EU and raise awareness regarding Europe’s cinematographic legacy.
Jacob Møller, CEO at Kiloo, Danish mobile games and contents provider, presented key strategies and opportunities in the mobile entertainment business at Cartoon Master (Digital) 2008. Since its establishment in 2002, Kiloo has been producing a number of high-quality games.
Bruno Bucher, Jean-Emmanuel Casalta, and Jacob Møllerour, specialists from the mobile industry, discussed contents for mobile TV at Cartoon Master (Digital) 2008. The discussion covered the current movement in the European mobile content business, including mobile technologies, economic challenges, and future scope for producers.
According to CNC’s survey of French film distribution, the number of films released showed a gradual increase over the last 10 years. The study contains marketing figures according to the genre, national origin, and release schedule.
The event entitled ‘Shaping policies for the cinema of tomorrow’ – held in Krakow from September 11-13 - focused its discussion on public funding strategies to face the impediments of globalisation and the expansion of digital technology in the European market.
The comprehensive statistics on retail DVD sales in Europe from 2003-2008 are available through the European Video Yearbook by International Video Federation (IVF). This book also offers marketing information of European countries including the two non-IVF members, Ireland and Switzerland.
Communication with the public has become crucial in the digital screening world. The first research carried out during Italy’s digital screens shows a slow development due to the scarcity of titles shown and the high cost of maintaining the technology.
The European Audiovisual Observatory presented provisional data of 2003-2007 on the European film industry. According to the estimated figures, the number of films produced shows a slight increase of 1.1% corresponding to the growth in numbers of national productions. The demand for European films, however, improved achieving over 28% of the European market share.
LCEEI, the Lapland Centre of Expertise for the Experience Industry and Peacefulfish developed a research project to identify the challenges and opportunities facing the film market in digitalising cinema.
Robert Réa, Senior Vice President of Ellipseanim, served as executive producer for 32 TV movies and 600 half hours episodes. During Cartoon Master 2007 he talked about the internet market and consumer behavior.
Angel Blasco, head of Films Cooperate Content Unit at Telefónica group, talked about the company’s scope in content business at Cartoon Master (Finance) 2007. Providing VOD and SVOD (subscription video on demand) services, Telefónica focuses on branding and cross-platform as marketing strategies.
Millimages, a French production and distribution company for animated films, has become one of the leading European animation companies. Roch Lener, chief executive, presented a financing model and the future scope for producers in animation business on new platforms.
Claudia Da Silva, project manager in charge of the business sector of the new-media department of the worldwide French TV production company Marathon Media, talked about the company’s strategies for multimedia platforms at Cartoon Master (Finance) 2007.
Dupuis Audiovisuel, is a renowned French production company for its successful adaptation of famous comics. During Cartoon Master (Finance) 2007, Leon Perahia, audiovisual director, showed business models in Animation industry, by presenting multiple platform strategies applied by the company.
European distribution market is characterised by an increasing concentration of the sector and by a general degradation of the conditions of film exhibition. In this respect, an increasing weakening of European independent distributors is registered.
Organised by the Portuguese Presidency of the EU council, the High-Level Seminar on Audiovisual Content Online, held in Lisbon in October 2007, dealt with subjects such as opportunities offered by the new distribution market, its contribution to European economy and culture, and the users’ role.