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Independent TV/Film Production in the EU Elena Lai- CEPI Secretary General

CEPI. Independent TV/Film Production in the EU Elena Lai- CEPI Secretary General. The European Coordination of Independent Producers. F ounded in Paris 1989 Organises and represents the interests of independent cinema and television producers in Europe

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Independent TV/Film Production in the EU Elena Lai- CEPI Secretary General

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  1. CEPI Independent TV/Film Production in the EU Elena Lai- CEPI Secretary General

  2. The European Coordination of Independent Producers • Founded in Paris 1989 • Organises and represents the interests of independent cinema and television producers in Europe • Representing more than 8000 SMEs/independent production companies in Europe

  3. Independent TV Producers • A market for programme production based upon fair and transparent competition • Development of new programmes and content in production companies • Ownership of rights • The importance to address the consumers’ needs

  4. Independent Production: Cultural and political impact • Cultural diversity & protection of cultural identities • Public/consumer desire for • diversity of content • national content • Plural sources and opinions – democratic necessity

  5. The EU perspectiveWorking Group 3

  6. Independent Productions and archives Independent productions - According to the AVMS Directive • Broadcasters to reserve a minimum proportion (at least 10%)of either their transmission time or programme budget for independent European productions (Article 17); • Where are independent producers’ rights? • The BBC’s iPlayer service receives 145 milion requests for TV Radio Programme per month in 2011 from independent producers • Commercial Broadcaster/On demand Services such as Channel 4’s, ITV .com included content licensed by independent producers • With Terms of Trade/Secondary rights placed to embrace the opportunities opened up by online Platforms

  7. Main problems/obstacles • For entertainment programmes- often regional/national focus not sharing the same sense of humor... • TV/Film Documentaries- the boundaries between preserving and commercialising- the Danish case of AV works with limited commercial potential; • To make AV-Products online- what cost for the producer? • The financial crises and the sustainability of the initiatives undertaken

  8. ..........and solutions.........or improvements??? • The importance of ISAN and to identify the content on line • Why is the ISAN code important for a TV/Film Producer • ISAN vs V-ISAN • More info on a digital level available • Watermarking/Finger Print to track the content • For non linear content easier to track the audience rate • Interoperable with EIDR

  9. Clusters of AV Content? • Not very suitable solution (see what happened in Denmark with documentaries out of distribution); • Much more analysis is needed- we are just at the early stage; • The importance of the framework of actions-e.g. FIAPF/ACE

  10. THANKS!Elena LaiCEPI - Secretary Generalcepi@europe-analytica.com

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