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LFE, march 4, 2013 Jean Luc Ormieres. Households with broadband internet connections in the EU27 more than doubled between 2006 and 2011 reaching.

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Presentation on theme: "LFE, march 4, 2013 Jean Luc Ormieres. Households with broadband internet connections in the EU27 more than doubled between 2006 and 2011 reaching."— Presentation transcript:

1 LFE, march 4, 2013 Jean Luc Ormieres

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6 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

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8 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

9 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

10 In France, the Media Chronology is a regulation. Theatrical release TRANSACTIONAL VOD (first window) PAY TV (1st and 2 nd windows) Close rental VOD SVOD 4 MONTHS DVD and VOD release TVOD (EST only) TVOD 10 MONTHS Pay TV FREE TV No VOD PAY or FREE TV 22 Mo Free TV 36 Mo SVOD 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 Mo AVOD SVOD TVOD PAY or FREE TV AVOD

11 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.

12 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 account Therefore, up to 2011, the French VOD market has been dominated by walled 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.

13 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 market The 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

14 in 2015, TVOD + SVOD = 400 M/year out of which 200 M should go to production and distribution TVOD VOD/EST DVD sales THEATRICA L MARKET SVOD + PAY TV * Investment in film financing in France is slightly over 1000 M

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17 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 DICI – 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 – KIEN PRODUCTIONS – NORD-OUEST PRODUCTION – SOMBRERO PRODUCTIONS – SOPHIE DULAC DISTRIBUTION – FORUM FILMS – MEMENTO FILMS DISTRIBUTION – SOCIETE PARISIENNE DE PRODUCTION – PYRAMIDE - METROPOLITAN FILMEXPORT

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19 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…

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21 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

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23 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.

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25 ANALYSIS OF REVENUES ACCORDING TO TYPE OF VoD EXPLOITATION WEBConn. TVIPTV RENTALESTRENTAL ALL TAXES included4,9914,994,99 VAT deducted4,1712,534,17 Other Tax deductions4,0912,284,09 - SGC/CMS3,8411,553,84 operator's fee Net publisher UC (on average price)3,8411,553,842,50 Fee UC1,544,621,540,50 net RIGHT HOLDER2,316,932,312,00 Bandwidth costs UC0,28 Payment costs UC0,25 Electronic Device Manuf. Fee0,35 Gross Margin1,014,090,660,50

26 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

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31 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

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35 Network 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

36 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

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38 Strategy

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42 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.

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