17/03/2022 - Created by The Film Agency, it will allow independent companies to access information that is proving fundamental today, until now kept secret, manipulated or only available to a select few

Elite, one of the Spanish series that have seen huge success on platforms

Digital platforms generally do not share their viewing data, thus depriving part of the audiovisual market of fundamental chunks of information. While there are some big corporations that are able to afford the luxury of hiring consultancy firms and data-measuring companies, such reports end up being too costly for independent outfits, which leads to a situation in the audiovisual market tainted by inequality and fragility. In response to this, The Film Agency will this year launch a tool called Think Data: Bridging the Data Gap, a unique set of accessible and analytical data reports, delivered from the perspective of the independent audiovisual sector.

Through a monthly subscription, Think Data will provide data reports relating to SVoD in a number of strategic countries. Subscribers will receive a monthly digest with the top 100 films and series, the most-watched genres and their production countries of origin. In addition, in the years to come, its clients will be able to join online seminars where the most relevant data will be broken down and discussed.

These reports will allow subscribers to analyse the market with ease, as they will take a close look at indie titles, the most iconic genres and European content. The ultimate aim is to go beyond the usual box-office figures in order to enable a better understanding of what elements lie behind the main success stories, and what can represent a potential opportunity for its clients.

The information is provided by one of The Film Agency’s partners, SODA: Digital-i, a leading data-rating company based in the UK, which, via audience panel samples of 6,000 accounts (each one used by up to four people, making for a total of 24,000 viewers), analyses the behaviour of VoD subscribers in Italy, France, Germany, Spain and the UK. For now, they will measure views on Netflix and Amazon, regardless of whether the consumption takes place inside or outside a household. SODA will soon expand to other territories and platforms, whose data will be incorporated into future reports.

Thus, for example, by analysing the first few months of 2021, one can already draw a batch of conclusions: the first is that the most effective genres enabling European films to compete with content hailing from other continents were children’s titles, drama, action and comedy. Italy topped the list of the territories with the most European films viewed between July and September, with a share of 16.79% (23 million viewings), followed closely by Spain, with 15.77% (31 million viewings).

Furthermore, there was a 30-day window during which new content performed at the most efficient level. Meanwhile, Spain proved itself to be a huge generator of content aimed at a local audience, but which also enjoyed success abroad: this represented 19.51% of the series content aired in Spain, 9.13% in Italy and 7.44% in France. This high audience volume for Spanish output in European territories is mainly thanks to smash hits such as the series Elite, Valeria [+see also:
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(Translated from Spanish)