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Audiences and Economic Indicators SPOTLIGHT ON CANADIAN DOCUMENTARIES

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.

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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 April 25 2005 Prepared for the Documentary Policy Advisory Group

  2. Canadian Documentaries: • Economic Indicators: • Revenue earned • Gross Sales • Advertising • Jobs • Reaching Audiences: • Theatres • Non-Theatrical • Television

  3. Economic Indicators

  4. 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

  5. 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

  6. 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

  7. 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

  8. 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

  9. 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

  10. 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.

  11. 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

  12. 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.

  13. 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

  14. 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

  15. Reaching Audiences

  16. 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

  17. 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

  18. 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

  19. 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

  20. 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

  21. 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

  22. 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

  23. 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

  24. 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

  25. 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

  26. 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

  27. 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

  28. 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

  29. 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

  30. 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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