slide1
Download
Skip this Video
Download Presentation
Audiences and Economic Indicators SPOTLIGHT ON CANADIAN DOCUMENTARIES

Loading in 2 Seconds...

play fullscreen
1 / 30

Audiences and Economic Indicators SPOTLIGHT ON CANADIAN DOCUMENTARIES - PowerPoint PPT Presentation


  • 88 Views
  • Uploaded on

Audiences and Economic Indicators SPOTLIGHT ON CANADIAN DOCUMENTARIES. April 25 2005. Prepared for the Documentary Policy Advisory Group. Canadian Documentaries:. Economic Indicators: Revenue earned Gross Sales Advertising Jobs Reaching Audiences: Theatres Non-Theatrical Television.

loader
I am the owner, or an agent authorized to act on behalf of the owner, of the copyrighted work described.
capcha
Download Presentation

PowerPoint Slideshow about ' Audiences and Economic Indicators SPOTLIGHT ON CANADIAN DOCUMENTARIES' - rhonda


An Image/Link below is provided (as is) to download presentation

Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server.


- - - - - - - - - - - - - - - - - - - - - - - - - - E N D - - - - - - - - - - - - - - - - - - - - - - - - - -
Presentation Transcript
slide1

Audiences and Economic Indicators

SPOTLIGHT ON CANADIAN

DOCUMENTARIES

April 25 2005

Prepared for the Documentary Policy Advisory Group

slide2

Canadian Documentaries:

  • Economic Indicators:
  • Revenue earned
  • Gross Sales
  • Advertising
  • Jobs
  • Reaching Audiences:
  • Theatres
  • Non-Theatrical
  • Television
slide4

Recoupment as a Percentage of

Commitments by Sub-format

Fiscals 2000-2001 to 2003-2004

Children & Youth

17.6%

Variety & Per. Arts

11.0%

Drama

11.0%

Documentary

9.4%

Revenue Earned

  • Sample size is limited:
  • Telefilm share of revenues after distribution advance, commissions & expenses
  • To do: expand sample and develop trends
slide5

Recoupment as a Percentage of

Commitments by Sub-Format

Fiscals 1995-1996 to 2001-2002

10.9%

4.6%

3.2%

Mini-series

One-off

Series

Revenue Earned

  • In the Documentary Genre:
  • Series have the highest revenues returning 11% of total commitments
slide6

Revenue Earned

Telefilm-Financed Documentaries

Recoupment Revenues Generated

  • 44% of documentaries supported did not return any revenue
  • 2% of documentaries supported account for 45% of total revenues

Fiscals 1995-1996 to 2001-2002

372

301

160

15

No

Returned

Revenues

$100,000

$100,000

$1,000 to

$1,000

or more

Less than

slide7

Gross Sales

  • Sample size is limited to:
  • 35 top performing documentaries in ’98-99 from Telefilm & NFB
  • Typically a 5 year revenue cycle
  • Total sales after financing = $5 million
  • 70% of after-sales were in international markets
  • To do: expand sample and develop trends

Total Sales for 35 Projects

Canadian

Sales

30%

Foreign

Sales

70%

*Most profitable documentaries from 1998-1999 – 23 Telefilm and 12 NFB projects; 20 One-offs, 2 Mini-series and 8 Series

slide8

Canadian Pre-Sales vs. Sales

By Sub-format

SERIES

65.5%

34.5%

MINI-SERIES

49.9%

50.1%

ONE-OFF

25.1%

74.9%

Pre-Sales

Sales

Gross Sales

  • For these 35 projects in ‘98-99:
  • Series were best able to put pre-sales into the financing
  • One-offs had the hardest time making pre-sales
slide9

Gross Sales

Canadian vs. Foreign

Pre-sales & Sales by

Documentary Sub-format

  • For these 35 projects in ‘98-99:
  • The majority of all sales occurred in Canada, particularly for series.
  • One-offs had the greatest share of their total sales from foreign territories

SERIES

71.97%

28.03%

MINI-SERIES

66.25%

33.75%

54.01%

45.99%

ONE-OFF

Canadian

Foreign

slide10

Canadian Pre-sales & Sales by

Market Segment

88.2%

10.0%

1.7%

0.1%

TV

Institution

Home Video

Theatre

Gross Sales

  • For these 35 projects in ‘98-99:
  • The most important market segment was television representing 88.2% of all pre-sales and sales.
  • No other market segment came close.
slide11

Institution

Theatres

0.4%

1.8%

Home

Video

10.2%

TV

37.9%

Institution

51.4%

TV

98.2%

Telefilm Canada The National Film Board

Gross Sales

For 35 projects in ‘98-99

Canadian Pre-Sales & Sales by Market Segment

slide12

Range of Rates (30 sec spot) for Canadian Documentaries

Compared to other programs

American Idol Finale

$76,990.00

$38,970.00

Law & Order SVU

Corner Gas

$21,620.00

$360.00

Documentaries - High end of range

Range of Costs per Thousand Viewers (CPM) for Canadian Documentaries

Compared to other programs

The OC

$57.40

CSI

$40.32

Documentaries – High end of range

$12.69

Advertising

Rates: Based on survey* of available inventory with a cost and an audience estimate by program for the period of April 9 through to June 30, 2005

Benefits of Branding: CPM ranges from $4-$12 for documentaries with higher end charged by specialty services with brand in documentary.

*17 broadcasters surveyed including CBC.

slide13

Estimated Portion of Advertising Revenue generated by documentary programming

Conventional

Networks

3%

Specialty

Services

21.49%

Advertising Revenues

*Subset of commercial broadcasters only, not including CBC

slide14

Direct

14,300

14,000

Indirect

12,900

Total

12,000

11,700

10,900

9,100

8,800

8,600

7,900

7,400

7,200

7,000

6,700

5,600

5,500

5,400

5,000

4,600

4,500

4,300

4,200

3,500

2,700

96-97

97-98

98-99

99-00

00-01

01-02

02-03

03-04

Jobs

  • The production of Canadian documentaries generated approximately 12,900 full-time equivalent jobs in 2003-2004
  • The figures for 2003-2004 show a decrease from the previous year

Full Time Equivalent Jobs

slide16

Theatres

Trends

Documentary Box Office &

Number of Releases

  • An extreme jump in feature documentary box office occurred in 2004. Up 428% from previous year.
  • Michael Moore’s Fahrenheit 9/11, accounted for 40% of B.O. in 2004
  • Market share for feature documentary has gone from < 1% of overall B.O. to 1.2% of B.O. in 2004.

Documentary

Box Office

($000s)

Number of

Documentary

Films Released

30,000

70

25,000

60

20,000

50

40

15,000

30

10,000

20

5,000

10

0

0

2002

2003

2004

slide17

Average Feature Film Shelf Life

(in weeks)

14

12

10

8

6

4

2

0

2002

2003

2004

Documentaries

Fiction

Theatres

Trends

  • Feature documentaries are remaining in theatres a lot longer
  • By contrast fiction films have a shorter shelf life.
  • Feature Documentaries average 5 screens per film
  • Fiction Films average 60 screens per film
  • Average b.o. per screen is similar
slide18

Canadian Documentary Box

Office ($000s)

2500

2000

1500

1000

500

0

2002

2003

2004

Theatres

Canadian Documentaries

  • Similar to overall documentary growth, Canadian-made feature documentaries exhibited a startling growth in box office for 2004 ($145,000 to > $2Million)
  • The Corporation represented about $1.5 million or 75% of the Canadian documentary box office
slide19

Theatres

Canadian Documentaries

  • Canadian feature documentaries reached 8% market share of all feature documentaries.
  • Canadian fiction features reached 4% market share of all fiction feature films.
  • Canadian feature documentaries contributed 5% to the overall BO earned by Canadian feature film

Canadian Feature Film

Share By Genre -2004

8%

($2,113,585)

4%

($39,286,854)

Canadian share of

Canadian share of

all Feature

all Fiction Feature

Documentaries

Films

slide20

Theatres

  • The Top Five Documentaries still on screens in Canada in 2004:
  • Fahrenheit 911 – Released 2004 – Total Box Office: $18,242,989
  • Bowling For Columbine – Released 2002 – Total Box Office: $5,244,872
  • Super Size Me – Released 2004 – Total Box Office: $2,064,476
  • The Corporation – Released 2004 – Total Box Office: $1,511,731
  • NASCAR: The Imax Experience – Released 2004 – Total Box Office: $1,225,625
  • Fahrenheit 911 was the highest grossing feature documentary of all time
  • The Corporation is a Canadian-produced documentary. It was the number one Canadian documentary as well as the second highest grossing Canadian-made film overall for 2004
  • The highest grossing French-language Canadian documentary was Ce Qu’il Reste de Nous. It took seventh place overall with over $300,000 at the box office
slide21

Schools

Libraries

Non-Theatrical Markets – Up to Early 1990’s - Generalized

Colleges &

Universities

Non-Theatrical

Multimedia

Home Video

Social

Business &

Services

Industry

Agencies

Community

Associations

Health

Educational

& Specialty

TV

Non-theatrical Market – Early 90’s to Present - Specialised

slide22

Non-Theatrical

  • Diverse audiences are being reached at home, at the workplace and in the educational milieu.
      • Example: The National Film Board
        • Libraries - over the last five years - 1 million loans and rentals with 90% being documentaries
        • Educational milieu- almost 400,000 documentaries sold
  • More is research required to measure this consumption in the future
slide23

Share of all TV Hours Tuned

Foreign-

Productions

Canadian-

Productions

48%

52%

Television

Overview

  • All genres including sports, news, entertainment, etc.
  • Canadians consumed over 14 billion hours of television during the first half of the 2003-2004 broadcast season
  • Of all that viewing, a slim majority (52%) was to foreign programming
  • Data challenges

Source: BBM National Meter Service, Weeks 1-26, 2003-2004 Broadcast Year

slide24

Television

Recent Audience Indicators

Share of All TV Hours

(Week 1-26 2003—2004 Season)

  • Canadians consumed about 784 million hours of documentary programming during the first half of the 2003-2004 broadcast season
  • This accounts for about six percent of all tuning

Docs

6%

All Others

94%

Source: BBM National Meter Service, Weeks 1-26, 2003-2004 Broadcast Year

slide25

Television

Recent Audience Indicators

Share of All TV Hours Tuned to

Documentaries

(Week 1-26 2003—2004 Season)

  • Of the 784 Million documentary hours consumed 533 were in English and 251 in French representing roughly:
    • 5% of overall English viewing
    • 6% of overall French viewing
  • English and French Canadians consume documentary programming at similar levels

French

32%

English

68%

Source: BBM National Meter Service, Weeks 1-26, 2003-2004 Broadcast Year

slide26

Television

Recent Audience Indicators

Share of Documentary

Programming Hours tuned

(Week 1-26 2003—2004 Season)

  • Although overall foreign television production is consumed more than Canadian production, in the case of documentary programming television viewers prefer home-grown products
  • Canadian documentaries account for more than 60% of all documentary tuning on television

Foreign

39%

Canadian

61%

Source: BBM National Meter Service, Weeks 1-26, 2003-2004 Broadcast Year

slide27

Documentary Programming

Supply vs. Viewing (hours/week/person)

English-Language

Supply

Viewing

1996/97

1998/99

2000/01

2002/03

French-Language

1996/97

1998/99

2000/01

2002/03

Prime Time Television

Trends

  • More than double the documentary programming is available to prime time viewers :
    • English 700-1600hrs/wk
    • French 300-700 hrs/wk
  • Consumption is not increasing:
    • English 9 hrs/wk
    • French 11 hrs/wk

Source: CBC Research/Nielsen Media 1996-2003 Prime Time

slide28

Supply

Viewing

Prime Time Television

Trends

Canadian Documentary Programming

Supply vs. Viewing Canadian Share of Hours Tuned

  • In the English market, Canadian share of supply has increased marginally to 50% while share of viewing remains around 30%.
  • In the French market, the Canadian share of supply and viewing dropped sharply in 1998 and has levelled off since at about 60%

English-Language

1996/97

1998/99

2000/01

2002/03

French-Language

1996/97

1998/99

2000/01

2002/03

Source: CBC Research/Nielsen Media 1996-2003 Canadian SHARE of Hours/Week/Person Prime time

slide29

Television

Recent Audience Indicators

Sub-Format Share of all Viewing to

  • The on-going series sub-format accounts for the majority of hours tuned to documentary programming
  • However, the distribution of TUNING almost exactly matches the distribution of AVAILABILITY which suggests that the sub-formats are equally appealing to Canadians

Canadian Documentary Programming

Miniseries

One off

4%

14%

Series

82%

Source: BBM National Meter Service, Weeks 1-26, 2003-2004 Broadcast Year

slide30

Television

Recent Audience Indicators

  • CUMULATIVELY, on-going series account for the most viewing, but one-offs and mini-series tend to have higher SINGLE-VIEW AUDIENCES.The top five single-airing audiences for documentaries were all one-offs or mini-series.

Source: BBM National Meter Service, Weeks 1-26, 2003-2004 Broadcast Year

ad