1. How bright is the future for Swedish TV-producers? Och den ljusnande framtid är vår?

2. Agenda for todays seminar 14.00-15.00 Presentation of the study Short break (wine/beer/coffee available) 15.15-16.00 Discussion in groups (audience participates) about key issues for the future of the Swedish TV- production industry

3. The study of the Swedish TV- production industry Strategies and business models Industry structure Legal and regulatory framework – With European comparisons

4. Background The Swedish TV-production industry coming of age: maturing and professionalizing Technical, economic and regulatory changes make for a turbulent environment for Swedish TV-producers

5. Turbulent and exciting times ahead! Technological development allows for new distribution platforms as well as new business models and revenue streams Regulatory changes Globalization of the TV production industry: formats and foreign ownership

6. Rolf A. Lundin Handling Strategies and Projects in TV Production Companies Why projects?

7. Open interviews with relevant actors more than three years ago Lots of references to creativity Three types of projects: 1. Production projects 2. Format projects 3. Strategy projects

8. Ad 1) Production: Coordination, freelancers, well prepared! Impressively efficient. TV producers do not have much to learn but have a lot to teach others!

9. Ad 2) Format: From first idea and marketing through bible work The bible phase is orderly. The phases prior to the bible phase are less clear. One problem is how ideas are generated and kept No correspondence to shelving in traditional product development.

10. Action was unclear. The interviewees did not seem to know how to handle the question! Why is that so – Is he a spy? Ad hoc? System? No clear projects related to strategy, not even to learn. The TV producer association for common problems (IPR, relations to SVT, etc.) providing a forum for industrial wisdom. Ad 3) Strategy: The problems were described in similar terms.

11. Discussions with actors in TV production in November 2011: Less talk about creativity No change when it comes to production projects Less stress on development of formats Strategy a lot more developed for the company (less about the association) A system for strategic development. Similarities with traditional, ripe industries. More discussions about new market opportunities in parallel to the traditional ones. Translation of trends to development and action.

12. Conclusions about projects in the companies: Still very efficient in exploitation and the competence for exploration has definitely grown. But the Swedish TV production market is all too small. Successful innovation demands a big market. Swedish film seems to be riding on a wave of new attention. Can this wave be utilized?

13. The Regulatory Framework Pernilla Rendahl

14. The regulatory framework Initial ideas – The link between intellectual property rights and VAT distorts competition? – The regulatory framework cannot coop with the transformation without causing more competitive distortions? – More regulation v. less regulation?

15. The regulatory framework

16. Particular Swedish concerns -Need to be strong within the EU and other international organisations -X-border problems cannot be solved with unilateral measures -VAT creates distortions -link between copyright and VAT -Deductibility of input VAT

17. The regulatory framework Intellectual property and licencing – Key issues that need to be prioritized by regulators – One-stop shopping (?) VAT – EU Commission: too many distortions – One-stop shop 2015 Freedom to provide and receive services? One framework, but issues are discussed separately

18. The regulatory framework More and larger groups of companies New business models? Shift of powers?

19. The regulatory framework More or less regulation? Sweden difficult to compare due to its size and structure Unilateral measures are not enough Regional and international coordination is needed

21. The regulatory future How can business affect the legislators? Should business affect the legislators? Utopia – one single market?

22. Independent TV production in Europe some preliminary findings Lucia Naldi

23. Turbulent times – Changes in technology – Regulations Change/extension of business models?

24. 2 possible business model extensions – Tapping into advertising funding as a replacement for declining broadcaster funding – Integrate the distribution: starting in-house distribution

25. In fall 2010, MMTC scholars and a team of researchers from the University of Zurich have jointly designed and carry out a European- wide survey A pan-european study (1)

26. The survey was directed at independent TV producers in the following EU countries: Sweden, Norway, Denmark, Holland, Germany, Switzerland, the UK, Ireland, Spain and Croatia Identified using the registers of members of the national industry association E-mail questionnaire Targeted responded: the companys CEO A pan-European study (2)

27. A pan-European study (3) 431 responses (155 complete) out of 1467 emails. Response rate 29% (11%).

28. Perceptions of the dynamisms in the TV production industry? - Technology -Competition -Consumer behavior -Regulatory framework -Product maturity rate -Marketing practices

29. Moderately high dynamism

30. Developments within: - Advertiser funding programming - Online distribution

31. Advertiser funded programming (+) It is getting more widespread among firms Although with limitations No major differences between European countries

32. Share of production companies using ADF

33. Share of productions containing ADF

34. Advertiser funded programming (-) Advertiser funding is not clearly beneficial for producersbroadcasters can secure part of the advertising revenue Differences between European countries

35. Distribution of advertising revenue Only firms with first hand experience with AR Differences across genres: fiction can retain higher share of advertising 1-all revenue remains with broadcaster; 7= all revenue remain with producer

36. Online Distribution (+) Over the next three years, growth will come from non-traditional distribution channels Differences between countries

37. Distribution platforms (expected development) -3 strong decrease; 3= strong increase

38. Distribution platforms across countries (expected development) Germany and Switzerland expect a major decline of TV market (-60%) Spain and Croatia some growth potential in the TV market Swedish producers have lower expectations on the opportunities in mobile and online compared to their European colleagues.

39. Online distribution (-) European producers expect themselves to have a less powerful position in the on-line space as compared to the traditional market Ranking the actors according to their expected revenue 1. internet platforms 2. telecommunication operators 3. broadcasters/publishers 4. Advertisers 5. Producers

40. Possibility to retain broadcast and online rights 1-no rights at all retained; 7= all rights retained

41. New competences needed? 88% believe they need new competences in their organization to growth in adverting funding and online distribution

42. What new competences?

43. Future?

44. ADF is likely to establish Growth of online and mobile distribution How can European producers retain ADF funding? How can they secure their position in the online space?

45. Consolidation of the industry? Larger production companies Backwards integration- broadcasters acquiring production companies and reintegrating production to better serve the advertisers, i.e. their actual customers Possible scenarios

46. The structure of the Swedish TV- market SVT and production companies Maria Norbäck

47. SVTs co-productions More investment (and thus risk) is being demanded of the production companies In some genres production companies are responsible for finding additional financers

48. SVTs co-productions SVT needs to professionalize and improve their commissioning practices There needs to be a discussion around the division of rights between SVT and production companies

49. Structure of the Swedish TV market SVT and the other distributors enjoy oligopoly-like position (buyers market) In other European countries the broadcasters power is less strong The issue of the division of rights is crucial for Swedish production companies future

50. The UK legislation a role model? The UK Communication Act of 2003 states that broadcasters must negotiate secondary rights, and that these not automatically end up with the broadcasters (which is something that many Swedish broadcasters today have written into their contracts). BBC has very clear policies regarding their commissioning practices (price per hour of programming, waiting times etc.)

51. Diskussionsfrågor Det främsta strategiska problemet nu? Framtida affärsmodeller? Utopia – one single market? Vad har ni för förväntningar/förhoppningar på SVT i framtiden?