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Audiences and Economic Indicators SPOTLIGHT ON CANADIAN DOCUMENTARIES. Prepared for the Documentary Policy Advisory Group. Canadian Documentaries:. Economic Indicators: Recoupment Sales Branding Jobs Reaching Audiences: Feature Film Non-Theatrical Television. Economic Indicators.

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Audiences and Economic Indicators

SPOTLIGHT ON CANADIAN

DOCUMENTARIES

Prepared for the Documentary Policy Advisory Group


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Canadian Documentaries:

  • Economic Indicators:

  • Recoupment

  • Sales

  • Branding

  • Jobs

  • Reaching Audiences:

  • Feature Film

  • Non-Theatrical

  • Television



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Recoupment as a Percentage of

Commitments by Genre

Fiscals 2000-2001 to 2003-2004

Children & Youth

17.6%

Variety & Per. Arts

11.0%

Drama

11.0%

Documentary

9.4%

Recoupment

A Proxy for Market Performance

  • The Children & Youth genre has the highest recoupment rate

  • Documentaries have the lowest recoupment as a percentage of commitments


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Recoupment as a Percentage of

Commitments by Genre

Fiscals 1995-1996 to 2001-2002

10.9%

4.6%

3.2%

Mini-series

One-off

Series

Recoupment

A Proxy for Market Performance

  • The on-goingseries sub-format has the highest recoupment rate with almost 11 percent of the commitment amount

  • Mini-series have the lowest recoupment rate


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*Most profitable documentaries from 1998-1999

Sales

Total Sales for 35 Projects

Canadian

Sales

30%

Foreign

Sales

70%


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$97,649 and the NFB* after financing were almost $5 million

French Projects

English Projects

$157,584

Sales

  • Of the 35 NFB and Telefilm projects, twenty-five were produced in English and ten were produced in French

  • English-language projects had about 61% higher dollar-sales-per-project than the French-language productions

Average Sales per Project by

Language of Production


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Sales and the NFB* after financing were almost $5 million

Total Canadian sales come from the market segments of television, institutional, home video and theatres. The most important market segment is television representing 51% of all sales, followed by 41% for the institutional market and home video (direct sales to consumers or rentals) accounting for the balance (7%). The receipts from the theatrical market are marginal

Canadian Sales by

Market Segment (Overall)

51.4%

41.3%

7.0%

0.3%

TV

Institutional

Home Video

Theatre


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Sales and the NFB* after financing were almost $5 million

Canadian Sales by

Market Segment

(English-Language Productions)

For English-language productions, the market segment distribution is similar to the total with only slightly lower television representation and slightly higher representation in the institutional segment.

49.1%

44.1%

6.5%

0.3%

TV

Institutional

Home Video

Theatre


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Sales and the NFB* after financing were almost $5 million

Canadian Sales by

Market Segment

(French-Language Production)

French-language productions have a higher distribution in the television segment than English-language productions and in home video, but have much smaller representation in institutional.

59.0%

32.6%

8.3%

0.1%

TV

Institutional

Home Video

Theatre


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Canadian Pre-Sales vs. Sales and the NFB* after financing were almost $5 million

By Sub-format

SERIES

65.5%

34.5%

MINI-SERIES

49.9%

50.1%

ONE-OFF

25.1%

74.9%

Pre-Sales

Sales

Sales

  • When total sales are broken down to the respective parts, PRE-SALES and SALES, the series sub-format proves to have the highest share of pre-sales (almost 70%) whereas one-off documentaries have the lowest (just over a quarter).


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Sales and the NFB* after financing were almost $5 million

Canadian Sales by Market Segment

Theatres

0.4%

Home Video

10.7%

Institutional

17.8%

TV

34.8%

Institutional

54.0%

TV

82.2%

Telefilm Canada The National Film Board


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Sales and the NFB* after financing were almost $5 million

Canadian vs. Foreign Sales by

Documentary Sub-format

  • One-off documentaries get the highest share of their sales from the Canadian market

  • On-going documentaries get a more significant part of their sales from foreign markets

SERIES

18.8%

81.3%

MINI-SERIES

32.6%

67.4%

ONE-OFF

38.6%

61.4%

Canadian

Foreign


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Range of Rates (30 sec spot) for Canadian Documentaries and the NFB* after financing were almost $5 million

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 for Canadian Documentaries

Compared to other programs

The OC

$57.40

CSI

$40.32

Documentaries – High end of range

$12.69

Branding

An analysis of rates for 30 second spots as well as cost-per-thousands among major Canadian network show that they are valued much lower than other popular prime time programs


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Portion of Advertising Revenue generated by documentary programming

Conventional

Networks

3%

Specialty

Services

24.49%

Branding

Canadian specialty services place a higher premium on the brand of documentary programming. Of a sub-set of relevant specialty services, 21 percent of their advertising revenue is generated by documentary. Only three percent is generated on the conventional national networks.


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Direct programming

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 in terms of indirect jobs but the general trend shows that documentary production in Canada continues to be an important engine for the creation of Canadian jobs

Full Time Equivalent Jobs


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Audiences and Economic Indicators programming

SPOTLIGHT ON CANADIAN

DOCUMENTARIES

Prepared for the Documentary Policy Advisory Group


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Reaching Audiences programming


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Feature Film programming

Trends

Documentary Box Office &

Number of Releases

  • No doubt due to the popularity of Michael Moore’s Fahrenheit 9/11, an extreme jump in feature documentary box office occurred in 2004

  • 2004 saw $25 million in box office receipts for documentaries. This represents an astounding 428% increase.

  • More documentary films were released in 2004 than in 2002 and 2003 combined

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


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Average Feature Film Shelf Life programming

(in weeks)

14

12

10

8

6

4

2

0

2002

2003

2004

Documentaries

Fiction

Feature Film

Trends

  • Feature documentaries are remaining in theatres a lot longer than they use to

  • Feature documentaries are increasing their screen longevity at the same time, fiction films are proving to have a shorter shelf life.


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Canadian Documentary Box programming

Office ($000s)

2500

2000

1500

1000

500

0

2002

2003

2004

Feature Film

Canadian Documentaries

  • Similar to overall documentary growth, Canadian-made feature documentaries exhibited a startling growth in box office for 2004

  • In 2004, Canadian documentaries accounted for over $2 million dollars in box office sales compared to $145,000 for the previous year


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Feature Film programming

Canadian Documentaries

  • Canadian productions accounted for about 8 percent of all documentary box office receipts

  • Canadian feature documentaries are twice as successful in their respective market as Canadian fiction films are.

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


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Feature Film programming

  • The Top Five Documentaries in Canada Overall:

  • Fahrenheit 9 / 11 – 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


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Libraries programming

Schools

Colleges &

Universities

Non-Theatrical

Non

-

Theatrical Markets

Up to the Early 1990s

-

Generalized


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Non-Theatrical programming

Non-theatrical Market – Early 1990s to Present - Specialised

Multimedia

Home Video

Social

Business &

Services

Industry

Agencies

Community

Health

Associations

Educational

& Specialty

TV


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Non-Theatrical programming

  • Diversity and reach of the non-theatrical sector

  • 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 - almost 1 million documentaries in loans and rentals

      • Educational milieu- almost 400,000 documentaries sold

  • More research is required to measure this consumption in the future


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    Share of all TV Hours Tuned programming

    Foreign-

    Produced

    Canadian-

    Produced

    48%

    52%

    Television

    Overview

    • 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

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


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    Documentary Programming 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

    Television

    Trends

    • In both English and French markets, there have been significant increases in documentary programming AVAILABLILITY on television

    • Despite the increase in availability, consumption has been relatively flat – no increase at all in the English market, and a slight increase in the French market

    Source: CBC Research/Nielsen Media 1996-2003 Primetime


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    Supply programming

    Viewing

    Television

    Trends

    Canadian Documentary Programming

    Supply vs. Viewing (hours/week/person)

    • There has been a steady growth in availability of Canadian documentaries in both languages.

    • Except for an anomalous drop in 1996-97 in the French market, viewing levels increased along with supply.

    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 All Day Canadian share figure applied to hours/week/person figures


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    Television programming

    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


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    Television programming

    Recent Audience Indicators

    Share of All TV Hours Tuned to

    Documentaries

    (Week 1-26 2003—2004 Season)

    • Due to the higher population and the larger selection of services, television consumption overall tends to be about twice to two-thirds higher for the English market than French

    • The English market accounts for 68% of all documentary viewing compared to 32% for the French market – this indicates that the language markets have an equal interest in documentaries

    French

    32%

    English

    68%

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


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    Television programming

    Recent Audience Indicators

    Share of Documentary

    Programming Hours tuned

    (Week 1-26 2003—2004 Season)

    • Although overall foreign television programming is consumed more than Canadian-produced programming, in the case of documentary programming television viewers prefer home-grown products

    • Canadian-produced documentaries account for more than two-thirds of all documentary tuning on television

    Foreign

    39%

    Canadian

    61%

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


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    Television programming

    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


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    Television programming

    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