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Audiences and Economic Indicators SPOTLIGHT ON CANADIAN DOCUMENTARIES

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

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  1. Audiences and Economic Indicators SPOTLIGHT ON CANADIAN DOCUMENTARIES Prepared for the Documentary Policy Advisory Group

  2. Canadian Documentaries: • Economic Indicators: • Recoupment • Sales • Branding • Jobs • Reaching Audiences: • Feature Film • Non-Theatrical • Television

  3. Economic Indicators

  4. 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

  5. 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

  6. Total sales of 35 documentary projects supported by Telefilm and the NFB* after financing were almost $5 million • 30% of the sales after financing took place in the Canadian market and 70% in international markets • The most profitable Canadian documentaries have export capacity. *Most profitable documentaries from 1998-1999 Sales Total Sales for 35 Projects Canadian Sales 30% Foreign Sales 70%

  7. $97,649 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

  8. Sales 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

  9. Sales 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

  10. Sales 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

  11. 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 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).

  12. Sales 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

  13. Sales 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

  14. 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 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

  15. 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.

  16. 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 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

  17. Audiences and Economic Indicators SPOTLIGHT ON CANADIAN DOCUMENTARIES Prepared for the Documentary Policy Advisory Group

  18. Reaching Audiences

  19. Feature Film 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

  20. Average Feature Film Shelf Life (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.

  21. Canadian Documentary Box 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

  22. Feature Film 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

  23. Feature Film • 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

  24. Libraries Schools Colleges & Universities Non-Theatrical Non - Theatrical Markets – Up to the Early 1990s - Generalized

  25. Non-Theatrical Non-theatrical Market – Early 1990s to Present - Specialised Multimedia Home Video Social Business & Services Industry Agencies Community Health Associations Educational & Specialty TV

  26. Non-Theatrical • 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

  27. Share of all TV Hours Tuned 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

  28. 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 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

  29. Supply 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

  30. 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

  31. Television 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

  32. Television 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

  33. 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

  34. 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

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