LFE, march 4, 2013 Jean Luc Ormieres. Households with broadband internet connections in the EU27...
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Transcript of LFE, march 4, 2013 Jean Luc Ormieres. Households with broadband internet connections in the EU27...
LFE, march 4, 2013Jean Luc Ormieres
Households with broadband internet connections in the EU27 more than doubled between 2006 and 2011 reaching nearly 70% in 2011.
Proportions of houselholds with BB connections- Sweden 86% (highest rate) Denmark 84%, UK & Netherlands 83 % have the highest rate- Romania 31%, Bulgaria 40% and Greece 45% have the lowest ones
Films represent about 75% of the total VoD consumption in Europe
European market is dominated by the UK and France
Total VoD turnover of Europe to exceed 1,65 billion € in 2011, in a worldwide market that is close to 11,5 billions US €
Over 600 VoD services available in Europe
VoD expenses in France grew from 29 M€ in 2009 to 150 M€ in 2010, and above 310 M€ in 2012
in 2011
A figure between 85 and 100 Millions legal downloads has been reached
95 % of the transactions are rentals
TVOD (transactional VOD) accounts for 93% of the market value (vs SVOD & AVOD)
the average price for a film transaction = 4,25 € (rather high)
90/95 % of the market on IPTV & Itunes
Films account for 70% of all transactions
In France, the Media Chronology is a regulation.
Theatricalrelease
TRANSACTIONAL VOD
(first window)
PAY TV (1st and 2nd windows)
Close rental VOD
SVOD
4 MONTHSDVD and VOD release
TVOD (EST only) TVOD
10 MONTHSPay TV
FREE TV No VOD PAY or FREE
TV
22 MoFree TV
36 MoSVOD
The MEDIA CHRONOLOGY has always played a strong role in the financing of film production. SVOD starting only at 36 months has protected PAY TV channels from new competition and has allowed for the development of a strong TVOD market.
48 MoAVOD
SVOD
TVOD
PAY or FREE TV
AVOD
A high diversity of films supported by a regulation (European directive translated
in French law)
The number of films available on VOD is growing rapidly but can still seem weak in
comparison with DVD references.
What can account for such a situation ?
- Very competitive market for Triple Play offers (30€/mo with the Set-top-Box) and therefore a very high IPTV penetration rate (10M households = 1/3 of all households)
- VOD on IPTV/ITunes is favoured by consumers for 2 main reasons : the service is available directly on their TV sets they are invoiced on their internet bills (no credit card needed) or via theirApple accountTherefore, up to 2011, the French VOD market has been dominated bywalled garden services. Although it gives much power to a few players and can be a threat to diversity, the ISPs have used their huge marketing means to develop VOD usage.
Over The Top (OTT) Offers are services proposed by players that do not control the physical distribution network : they come « over the top » using the home internet connection to be available on some devices
NEW DEVICES : Connected TVs Ipads Android tablets Game consoles
Samsung / LG / Sony / Google TV Apple Open android Sony Microsoft
marketThe Itunes Film store launched in France in 2010, its market share is growing rapidly. The marketshare of IPTV will be decreasing in 2012/2013
NEW PLAYERS : Google/Youtube, Facebook, Dailymotion ?
The market is opening slowly to competition
24M 2011
in 2015, TVOD + SVOD = 400 M€/year
out of which
200 M€ should go to production and
distribution
TVODVOD/EST
DVD salesTHEATRIC
ALMARKET
SVOD
+
PAY TV
* Investment in film financing in France is slightly over 1000 M€
Currently there are 49 shareholders :
ADR PRODUCTIONS – ARCHIPEL 35 – LAZENNEC – FIDÉLITÉ PRODUCTIONS – JBA PRODUCTION – LA MOUCHE DU COCHE FILMS – LES FILMS DE LA BOISSIÈRE – LES PRODUCTIONS BAGHEERA – MAGOURIC PRODUCTIONS – JLA/MERCURE DISTRIBUTION – LE PETIT BUREAU (QUO VADIS CINÉMA) – SUNDAY MORNING PRODUCTIONS – WHY NOT PRODUCTIONS – 3B – AGAT FILMS – DIAPHANA FILMS – GLORIA FILMS PRODUCTION – MACT PRODUCTIONS – MAÏA FILMS – OGNON PICTURES – PIERRE GRISE PRODUCTIONS – REZO PRODUCTIONS – TS PRODUCTIONS – ADVA – CINE NOMINE – ELZEVIR FILMS – LES FILMS D’ICI – HAUT ET COURT – INTERSCOOP – OF2B – LES FILMS PÉLLÉAS – PROGRAM 33 – SEPIA PRODUCTION – PLAYTIME – CE QUI ME MEUT – ELIA FILMS – LES FILMS DE LA CROISADE – LES PRODUCTIONS DU TRESOR – LES FILMS DU KIOSQUE – LES FILMS DU POISSON – K’IEN PRODUCTIONS – NORD-OUEST PRODUCTION – SOMBRERO PRODUCTIONS – SOPHIE DULAC DISTRIBUTION – FORUM FILMS – MEMENTO FILMS DISTRIBUTION – SOCIETE PARISIENNE DE PRODUCTION – PYRAMIDE - METROPOLITAN FILMEXPORT
The catalogue has over 2200 titles online; more than 1000 of them are under exclusive mandate for VoD distributio
UniversCiné showcases some of the most recent hits of independent cinema, as well as patrimonial works
A few titles: 4 months, 3 weeks and 2 days ; Il Caimano ; Soul Kitchen ; In the Loop; Louise Michel; Eldorado…
And a few names: Bergman, Fellini, Godard, Polanski, Kaurismaki, Dardenne, Kusturica, Resnais, Saura, Szabo,Tarr…
UniversCiné has a niche – it gives art-house films, some of them awarded in major festivals, a second life beyond their theatrical exposure
UniversCiné provides in-house produced editorial content (articles, interviews, trailers) in order to highlight films and guide audiences
UniversCiné develops exclusive cross-marketing operations with festivals and events in order to promote new talent and European cinema
UniversCiné proposes original community-based tools in order to promote films through social networks
The company structured itself around business-units, marketing, editorial, technical services, etc.
Universcine has developped its own technical service, front and back-office
The technical services b.u dedicates a substantial amount of its resources to R & D, paying attention to quality from content to exploitation. It has based its philosophy on a very high degree of security (DRM) that respects the content in all its aspects, whether artistic, technical or even legal). Special attention is currently paid to developping solutions for Continuum of services and devices and shared usages (Ultra-Violet)
Together with a weekly newsletter (over 250,000 subscribers) The Editorial b.u yearly provides an important amount of bonuses, interviews, special events audiovisual contents, in relationship not only with the VoD releases, but also with the news in the industry, the festivals, etc.
ANALYSIS OF REVENUES ACCORDING TO TYPE OF VoD EXPLOITATION
WEB Conn. TV IPTV
RENTAL EST RENTAL RENTAL
ALL TAXES included 4,99 14,99 4,99 4,99
VAT deducted 4,17 12,53 4,17 4,17
Other Tax deductions 4,09 12,28 4,09 4,09
- SGC/CMS 3,84 11,55 3,84 3,84
operator's fee
Net publisher UC (on average price) 3,84 11,55 3,84 2,50
Fee UC 1,54 4,62 1,54 0,50
net RIGHT HOLDER 2,31 6,93 2,31 2,00
Bandwidth costs UC 0,28 0,28 0,28
Payment costs UC 0,25 0,25 0,25
Electronic Device Manuf. Fee 0,35
Gross Margin 1,01 4,09 0,66 0,50
Evolution and Forecast of the Sales (direct, indirect,
rentals and DTOs)
The UniversCiné Market Share should progress from 1,5% in 2010 to 3% in 2013
As of today, four technological models exist (UniversCiné, Filmin, Good!Movies and Flimmit),
All possibilities for developing synergies and longterm technological and business convergence will be explored with the aim of eventually merging into one single model.
Reinforcing collaboration and integration in order to increase stability and cost-efficiency
The ‘inner core’ network of EuroVoD is of 9 countries; their total population is of more than 260 million people
The extended network of EuroVoD so far is of 13 countries
We have now started partnerships in other major European countries – UK, Italy, the Netherlands
To Promote Video on Demand as a New Channel For Distribution of Films
To Benchmark the Best Services of the Sector
To Create a Collaborative Model Between the Members of the Association and Other Independent Cinema VoD Platform Operators
Operating in a very structured context, having its origins in the concerns and desires expressed by content makers and providers regarding the destiny of their films, Universcine mirrors the fears and aspirations of the independent sector.
Far from solely advocating for the protection of the existing system, Universcine acts as a think tank that elaborates and implements projects in France and in Europe.
Universcine, conscious of what the digital revolution can bring to the future of film distribution in its various aspects, is also dedicated to contribute to the ongoing transitions, in an harmonious way that will maintain the sparkle of the independent sector, and the possibility for the audience to elaborate its relationship with this new media.