Presentation of the MEDIA Salles European Cinema Yearbook - Digital section

Similar documents
DigiTraining Plus: New Technologies for European Cinemas

Promotion Information Training The Digital Roll-out in Europe

Life Domain: Income, Standard of Living, and Consumption Patterns Goal Dimension: Objective Living Conditions. Income Level

International film co-production in Europe

UK FILMS AT THE WORLDWIDE BOX OFFICE

Sci-fi film in Europe

UK films at the worldwide box office, 2017

Israel Analyst Presentation 24 th May 2017

ICTA Los Angeles Seminar Digital and 3D Update

UK Television Exports FY 2013/2014

THE UK FILM ECONOMY B F I R E S E A R C H A N D S T A T I S T I C S

Trends in the EU SVOD market November 2017

CINEMA MARKET PROMO VERSION MARKET STATISTICS OF THE RUSSIAN FILM INDUSTRY BY NEVAFILM RESEARCH AND RUSSIAN FILM BUSINESS TODAY

Julio Talavera. Measuring access to theatrically screened films in Eastern Europe

Statistical, ecosystems and competitiveness analysis of the Media and Content industries. Validation workshop, October 2011

BFI RESEARCH AND STATISTICS PUBLISHED AUGUST 2016 THE UK FILM MARKET AS A WHOLE. Image: Mr Holmes courtesy of eone Films

ASIA VIDEO CONTENT DYNAMICS

Designated contracting state (EPC) AT BE BG CH CY CZ DE DK EE ES FI FR GB GR HU IE IS IT LI LT LU LV MC NL PL PT RO SE SI SK TR

Business Result for the First Quarter ended June 30, 2015 Regional Market Environments and Projections

The circulation of European co-productions and entirely national films in Europe

Selection Results for the STEP traineeships published on the 9th of April, 2018

Exporting to Mexico. The ins and outs of the Mexican Book Market

DiGiPoland

COMMISSION OF THE EUROPEAN COMMUNITIES COMMISSION STAFF WORKING DOCUMENT. Accompanying document to the

DIGITAL CINEMA: UNSUAL BUSINESS AS USUAL

Enabling environment for sustainable growth and development of cable and broadband infrastructures

2018 Survey Summary for Storage in Professional Media and Entertainment

Screen Industry: 2015/16

Vista Group International Limited 2015 Annual General Meeting Chairman s Address

The transition to Digital Terrestrial TV and utilisation of the digital dividend in Europe

Motion Picture, Video and Television Program Production, Post-Production and Distribution Activities

For personal use only

UK TV Exports. A global view in 2016/17

Digital Cinema in Spain: Production, Exhibition and Future Possibilities in Distribution

Netflix and the Demand for Cinema Tickets - An Analysis for 19 European Countries

Eros: A Multi-Platform Model

Investor Presentation

Global Post-production Market 2018 by Manufacturers, Countries, Type and Application, Forecast to 2023

Eros International Plc Corporate Presentation

MediaSalles - Helsinki DigiTraining Plus Seminar, July 2011 Bernard Collard, VP Sales & Business Development EMEA.

INVESTOR PRESENTATION. March 2016

Digital projection and more.

Film and TV locations as a driver of tourism

It is a pleasure to have been invited here today to speak to you. [Introductory words]

Update on VOD markets and catalogues

Israel Film & Television Industry Facts and Figures at a Glance 2017

2006 U.S. Theatrical Market Statistics. Worldwide Market Research & Analysis

Domestic Box Office Admissions per Capita ( ) Admissions per cap Home entertainment advancements Cinematic experience advancements

Seen on Screens: Viewing Canadian Feature Films on Multiple Platforms 2007 to April 2015

entertainment Quarterly Briefing 3Q13 MAJOR CINEPLEX GROUP PLC. Analyst Meeting Paragon Cineplex, Siam Paragon: November 11 th, 2013

Status of Digital Cinema

2001 ANNUAL REPORT SUMMARY HIGH FIGURES REAFFIRMED FOR THE NUMBER OF VISITORS TO MUSEUMS, CULTURAL ASSETS AND THE METROPOLITAN MUSEUM STRUCTURE

Credit Suisse Global Media and Communications Convergence Conference March 8, 2011

TRAINING. Activity Report. European Cinema Exhibition A NEW APPROACH. 4 8 June 2003 European Film College Ebeltoft, Denmark

TEPZZ A_T EP A1 (19) (11) EP A1 (12) EUROPEAN PATENT APPLICATION. (43) Date of publication: Bulletin 2015/10

Gabelli & Co Exhibitor Media Conference March 17, 2011

Europa Cinemas Conference Athens, November 2013

City Screens fiscal 1998 MD&A and Financial Statements

Global Movie Theatres Market: Size, Trends & Forecasts ( ) January 2017

Report on the Spanish Publishers Industry Year 2011

entertainment Quarterly Briefing 3Q14 MAJOR CINEPLEX GROUP PLC. Analyst Meeting 3Q14 Paragon Cineplex, Siam Paragon: November 7 th, 2014

FIM INTERNATIONAL SURVEY ON ORCHESTRAS

Licensing and Authorisation Procedures Lessons from the MAVISE task force

Gravure. opportunities in Eastern Europe and technological trends. Welcome and introduction. James Siever ERA Secretary General

INVESTOR PRESENTATION. June 17

19 th RENDEZ-VOUS WITH

Session 3.2. Network planning at different time scales, long, medium and short term. Network planning at different time scales:

International theatrical results for UK films, 2008

U.S. Theatrical Market: 2005 Statistics. MPA Worldwide Market Research & Analysis

EuP Preparatory Study Lot 6 Standby and Off-mode Losses

Cinema attendance: million

Corporate Profile. September, AVerMedia Overview

UK films at the worldwide box office, 2011

Dick Rolfe, Chairman

Global Concert Market: Size, Trends & Forecasts ( ) September 2016

This is a licensed product of AM Mindpower Solutions and should not be copied

TEPZZ 55_Z ZA_T EP A1 (19) (11) EP A1 (12) EUROPEAN PATENT APPLICATION

Action07 Mid-range Business Plan

Television and the Internet: Are they real competitors? EMRO Conference 2006 Tallinn (Estonia), May Carlos Lamas, AIMC

Media Salles - Digital Cinema Training Helsinki, Saturday 20 th February. Guillaume Thomine Desmazures

CASE STUDY NORDISK FILM KINO S MARKETING HITS HIGH NOTES

Global Popcorn Market Research Report 2018

Macquarie Conference Presentation May 2017

List of selected projects Creative Europe - Media. EACEA FILMEDU Selection year: 2018 Application deadline: 01-mars-18

DISTRIBUTION B F I R E S E A R C H A N D S T A T I S T I C S

INDUSTRY OVERVIEW. Global Demand for Paper and Paperboard: Million tonnes. Others Latin America Rest of Asia. China Eastern Europe Japan

Digital Screen Network

DEVELOPMENT AND PRODUCTION CREATIVE EUROPE. Support for the audiovisual sector. #creativeeurope

LEGAL AFFAIRS. The origin of content provided by video on demand services in the European Union STUDY NOVEMBER 2008 PE

EXECUTIVE SUMMARY. MARKET DYNAMICS CHINA CINEMATIC nd QUARTER

BPI the British recorded music industry BRITISH ARTISTS SCORE HIGHEST RECORDED SHARE OF GLOBAL MUSIC SALES

ITALY APPENDIX V. Table of Contents 2 APPENDIX V ITALY APPENDIX V ITALY 1

Efficient, trusted, valued

The Great Beauty: Public Subsidies in the Italian Movie Industry

Global pay TV revenues crawl to $200 billion

Working Group II: Digital TV: Regulation and the economic viability of DTT platforms. Background paper by Miha Krišelj, Group coordinator

11-14 JUNE 2018 CENTRE CONVENCIONS INTERNACIONAL BARCELONA (CCIB) OFFICIAL CORPORATE SPONSOR:

Film and other screen sector production in the UK, January June (H1, Half Year) 2018

ISPRS JOURNAL OF PHOTOGRAMMETRY AND REMOTE SENSING (PRS)

TEPZZ 996Z 5A_T EP A1 (19) (11) EP A1 (12) EUROPEAN PATENT APPLICATION. (51) Int Cl.: G06F 3/06 ( )

Transcription:

Presentation of the MEDIA Salles European Cinema Yearbook - Digital section Elisabetta Brunella, Secretary General of MEDIA Salles at the training course DigiTraining Plus: New Technologies for European Cinemas Kuurne, 6 April 2005 MEDIA Salles is an initiative of the MEDIA Programme of the European Union with the support of the Italian Government.

MEDIA Salles is an initiative of the MEDIA Programme of the European Union with the support of the Italian Government.

EUROPEAN CINEMA YEARBOOK - 2004 final edition - 33 European countries 4 Sections: - Cinema-going in Western, Central, Eastern European countries and Mediterranean Rim - Cinema-going worldwide - Multiplexes in Europe as at October 2004 - Digital cinema worldwide as at December 2004 Now in four languages (Italian, English, French, Spanish) CD Rom and printed edition Available on www.mediasalles.it

EUROPEAN CINEMA YEARBOOK Section on digital cinema: digital cinemas worldwide (Cinemas equipped with DLP Cinema TM technology projectors) Now updated as at December 2004 Including information on: name of the company town number of digital screens type of digital projector - NEW resolution - NEW projector s owner server for each cinema listed

EUROPEAN CINEMA YEARBOOK Section on digital cinema: digital cinemas worldwide (Cinemas equipped with DLP Cinema TM technology projectors)

EUROPEAN CINEMA YEARBOOK Section on digital cinema: digital films worldwide (Films originally in digital format and/or masterized in digital) Now updated as at December 2004 Including information on: release year nationality distributor for each film listed

EUROPEAN CINEMA YEARBOOK Section on digital cinema: digital films worldwide (Films originally in digital format and/or masterized in digital)

DIGITAL CINEMA WORLDWIDE

DIGITAL SCREENS WORLDWIDE (cinemas equipped with DLP Cinema TM projector ) In the last two years digital screens increased from 154 (February 2003) to 291 (December 2004) February 2003 + 89% June 2004 December 2004 var % dec04/ feb03 Source: European Cinema Yearbook 2004 final edition var % dec04/ jun04 AFRICA - - 1.. ASIA 51 110 136 167% 24% EUROPE 16 37 55 244% 49% LATIN AMERICA 7 11 11 57% - NORTH AMERICA 79 85 86 9% 1% OCEANIA 1 2 2 100% - TOTAL 154 245 291 89% 19%

DIGITAL SCREENS WORLDWIDE (cinemas equipped with DLP Cinema TM projector ) The highest increase took place in the last 6 months February 2003/June 2004 (16 months): +91 screens June 2004/December 2004 (6 months): +46 screens Considering figures by continent, the quickest increase was registered in Asian and European countries, while the US, the first country equipped with digital projectors, show a much lower growth percentage.

DIGITAL FILMS WORLDWIDE Digital films: scarce but growing supply of movies in a digital format 1999 2000 2001 2002 2003 2004 total 1999-2004 Number of films released 4 13 23 32 46 43 161 (as at December 2004)

kkkk MEDIA Salles Newsletter: EUROPEAN CINEMA JOURNAL No. 1/2004 Special issue devoted to digital cinema

MEDIA Salles Newsletter: EUROPEAN CINEMA JOURNAL NEW No. 2/2005 kkkk Special issue devoted to digital cinema

CINEMA RESEARCH LIBRARY www.mediasalles.it Cinema Research Library Call for papers Cinema exhibitions in Europe The US cinema exhibition industry Multiplexes The young audience The history of cinema exhibition Cinemas and new technologies Cinema & Finance Guests of the Research Library "Digital Technologies: which opportunities for the cinemas?" Talk by Elisabetta Brunella, Secretary General of MEDIA Salles at the Seminar "New technologies in film marketing and distribution, Kino Expo 2004, Moscow, 18 September "MEDIA Salles and the European Cinema Yearbook - Special section on digital cinema". Speech by Elisabetta Brunella - Secretary General of MEDIA Salles during Global Film Finance 4 at the Cannes Film Festival Cannes (F), 17 May 2004. "Electronic screenings: children's films in Norway" by Tonje Hardersen, in "European Cinema Journal" No. 2/2004, page 2 (versione italiana) Alternative content: novelties from Kinepolis" in "European Cinema Journal" No. 2/2004, page 2 (versione italiana) "China: the operation and development of digital cinemas - Part 2" Interview with Zhou Tiedong, in "European Cinema Journal" No. 2/2004, page 3 (versione italiana)

CINEMA-GOING IN EUROPE

CINEMA-GOING IN WESTERN EUROPE 2003 overall result -5.1% compared to 2002 from 958 to 909 million spectators admissions on the 5 main markets are decreasing D: -9.1%, E: -2.3%, F: -5.6%, UK: -4.9%, I: -5.5% total screens in 2003: 27 243 (+2.5%) screens are stable in D, still growing in E (+6.8%), I (+6.4%), UK (+0.9%), F (+0.6)

CINEMA-GOING IN CENTRAL AND EASTERN EUROPE 2003: total admissions are decreasing: -3.9% from 102 in 2002 to 98 million spectators in 2003 the main markets record different trends in admissions: CZ: +13.5%, HU: -11.4%, PL: -6.7%, RO: -14.8%, TR: +0.5% total screens in 2003: 4 709 (-2.4%)

HOW FREQUENTLY DO EUROPEANS GO TO THE CINEMA?

FREQUENCY PER CAPITA IN THE 5 MAIN MARKETS OF WESTERN EUROPE 4,00 3,00 2,00 1,00 0,00 2000 2001 2002 2003 D E F I UK 2000 2001 2002 2003 D 1,86 2,16 1,99 1,80 E 3,39 3,64 3,44 3,31 F 2,82 3,15 3,11 2,92 I 1,70 1,82 1,82 1,71 UK 2,39 2,60 2,97 2,82 Average frequency per capita in Western Europe in 2003: 2.32

FREQUENCY PER CAPITA IN THE 5 MAIN MARKETS OF CENTRAL AND EASTERN EUROPE 2,00 1,50 1,00 0,50 0,00 2000 2001 2002 2003 CZ HU PL RO TR 2000 2001 2002 2003 CZ 0,85 1,01 1,05 1,19 HU 1,40 1,54 1,50 1,34 PL 0,54 0,72 0,70 0,66 RO 0,23 0,26 0,24 0,21 TR 0,39 0,38 0,32 0,32 Average frequency per capita in Central and Eastern Europe in 2003: 0.53

WESTERN EUROPE vs EASTERN and CENTRAL EUROPE

WESTERN EUROPE- 2003 (18 countries) One cinema every 332 Km 2 One screen every 135 Km 2 One cinema per 35 522 inhabitants One screen per 14 408 inhabitants Average size of cinema: 2,5 screens Frequency per capita: 2,32 tickets per year Average ticket price: 5,77 euro

CENTRAL and EASTERN EUROPE - 2003 (15 countries) One cinema every 578 Km 2 One screen every 430 Km 2 One cinema per 53 415 inhabitants One screen per 39 724 inhabitants Average size of cinemas: 1,3 screens Frequency per capita: 0,53 tickets per year Average ticket price: 2.82

WESTERN EUROPE vs CENTRAL and EASTERN EUROPE Frequency per capita in Western Europe is four times higher than in Central and Eastern Europe (2,32 vs 0,53). The average ticket price in Western Europe is almost double that of Central and Eastern Europe (5,77 euro vs 2,82 euro). In the 1998 2003 period, - gross box office in Central and Eastern Europe increased by 50.4%, as against the 21.7% increase recorded in Western Europe, - on the other hand, admissions in Western Europe increased by 7,5% and in Central and Eastern Europe decreased by 0,1%, - the average ticket price in Western Europe increases slightly, growing from 5,10 to 5,77 euro, as against the increase from 1,87 to about 2,82 recorded in Central and Eastern Europe. Western Europe has 1 screen every 14 408 inhabitants whilst Central and Eastern Europe have 1 every 39 724 inhabitants. The ratio of the two regions is over 2:1 (2,75).

WHICH MOVIES DO EUROPEANS WATCH AT THE CINEMA?

ADMISSIONS IN EUROPE BY FILM ORIGIN 100,0% 50,0% 0,0% 1996 1997 1998 1999 2000 2001 2002 2003 US F ilm s National films on their own market European films outside their own market Others 1996 1997 1998 1999 2000 2001 2002 2003 US Films 71,6% 65,9% 77,5% 69,2% 73,3% 65,1% 70,5% 72,1% National films on their own market 17,0% 21,3% 14,4% 17,5% 15,7% 20,6% 17,9% 19,4% European films outside their own market 8,8% 10,8% 7,0% 11,3% 7,2% 10,8% 9,9% 6,3% Others 2,6% 2,0% 1,1% 2,0% 3,8% 3,5% 1,7% 2,2%

MARKET SHARES IN WESTERN EUROPE - 2003 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% B CH D DK E F FIN I IS L N NL S Domestic films European films US films Other films D:gross distribution revenues FIN: percentages of admissions I: Cinetel data

MARKET SHARES IN CENTRAL AND EASTERN EUROPE - 2003 100% 80% 60% 40% 20% 0% CS CY CZ EE HU LT LV PL RO SK Domestic films European films US f ilms Other films CS, EE, HU, PL: new releases PL: percentage of admissions

ADMISSIONS IN EUROPE BY FILM ORIGIN Breakdown of admissions by film origin is stronly affected by the success of US films which mantain an extremely high share of total admissions, around 70%, over the years. In alternative years, specifically in 1997, 1999 and 2001, Domestic films gained significant shares of admissions, as did, to a lesser extent, European films in general. Thanks to the success of a few titles, the latter managed to influence the overall market trend. In 2003, faced with a predominance of US films, it was mostly Domestic films that managed to play a significant role in Europe, gaining significant shares of box office (F: 34.5%, DK: 23.2%, I: 22.0%, S: 18.9%, CZ: 23.7%, CS: 18.5%, PL: 9.8%) Instead the market shares of non-domestic European films remain quite small.

CINEMA-GOING WORLDWIDE: WESTERN EUROPE vs INTERNATIONAL MAJOR MARKETS

CINEMA-GOING WORLDWIDE: ADMISSIONS (x 1 000 000) 1995 1996 1997 1998 1999 2000 2001 2002 2003 var% 95/03 var% 03/02 W. Europe 664,2 711,1 761,6 815,9 803,2 835,4 923,8 926,4 879,4 32,4% -5,1% USA 1 262,6 1 338,6 1 387,7 1 480,7 1 465,2 1 420,8 1 487,3 1 639,3 1 574,0 24,7% -4,0% Japan 127,0 119,3 140,7 153,1 144,7 135,4 163,3 160,8 162,3 27,8% 0,9% Australia 69,0 73,9 76,0 80,0 88,0 82,0 92,5 92,5 90,0 30,4% -2,7% Russia.... 24,6 30,2 36,4 40,5 68. 67,9% NUMBER OF SCREENS 1995 1996 1997 1998 1999 2000 2001 2002 2003 var% 95/03 var% 03/02 W. Europe 18 928 19 728 20 757 21 908 23 207 24 117 24 950 25 744 26 325 39,1% 2,3% USA 27 805 29 690 31 640 34 186 37 185 37 396 36 764 35 280 35 786 28,7% 1,4% Japan 1 776 1 828 1 884 1 993 2 230 2 524 2 585 2 635 2 681 51,0% 1,7% Australia 1 137 1 251 1 431 1 576 1 748 1 817 1 855 1 872 1 907 67,7% 1,9% Russia.... 100 130 220 350 542. 54,9% Russia: the number of screens refers to the theatres of new generation

WESTERN EUROPE - USA: NUMBER OF ADMISSIONS 3 000,0 2 500,0 2 000,0 1 500,0 1 000,0 500,0,0 1995 1996 1997 1998 1999 2000 2001 2002 2003 W. Europe USA Europe 1995 2003: + 32% Europe 2000 2003: + 5% USA 1995 2003: +25% USA 2000 2003: +11%

WESTERN EUROPE - USA: NUMBER OF SCREENS 80 000 60 000 40 000 20 000 1995 1996 1997 1998 1999 2000 2001 2002 2003 W. Europe USA Europe 1995 2003: + 39% Europe 2000 2003: + 9% USA 1995 2003: +29% USA 2000 2003: -4%

USA: THEATRES BY NUMBER OF SCREENS Total number of Theatres in 2003 6.066 Source: MPAA Single screen 2-7 screens (Miniplex) 8-15 screens (Multiplex) 16 or more screens (Megaplex) 2002 2003 Var. % 03/02 Single screen 1 682 1 684 0,1% 2-7 screens (Miniplex) 2 457 2 419-1,5% 8-15 screens (Multiplex) 1 437 1 473 2,5% 16 or more screens (Megaplex) 474 490 3,4%

For further information: infocinema@mediasalles.it www.mediasalles.it