Ready To Face The Future In Numbers
A year ago, industry boot the BVA published More Than Just A Support Act, a fascinating look at what the UK video industry ploughs back into our industry. Aimed at dispelling some of the myths at help copyright theft thrive (chiefly the one that suggests that all monies raised from sales head straight back to Hollywood and into the fat cats’ pockets), it was used as part of its ongoing education strategy, aimed at showing everyone from those in power downwards that the video industry’s fight against piracy is not simply about protecting profits, but about putting money back I to the creative side of the business.
Now, 12 months on, the BVA has come up wu a sequel, Ready To Face The Future, which updates the figures to take in 2011, and also add new case studies and date.
The case studies make for fascinating reading and show that, in some cases, video can account for almost more than £9 out of every tenner spent by consumers on a film
As BVA director general Lavinia Carey notes: “The audiovisual industry is experiencing rapid and dynamic change as a result of digital technologies that create huge opportunities and challenges to a complex creative sector, which is shown in our report to be heavily reliant on video entertainment to generate returns on investment in film and television production. It is vital, therefore, that additional uncertainty is not introduced into the sector by simplistic copyright policy changes or hesitancy in enforcing copyright law while our industry evolves, offering more innovative digital services alongside the ever-popular DVD and Blu-ray Disc while maintaining the quality in video entertainment that is so widely enjoyed by British audiences.”
We’ve been poring over the facts and figures and while some of them may be repeated, it’s well worth reiterating some of them as well as presenting the new ones on offer in the report.
So here then, is Ready To Face The Future in Numbers…
2.3 billion: the total spending in pounds on video entertainment in 2011
47: the percentage of the £3.1 billion feature film revenues that came from video entertainment in 2011
24: the percentage of feature film revenues that come from UK box office. Television revenues make up the other 29 per cent
34: the percentage of the £1.9 billion TV revenues That come from video. TV makes up the rest.
19: the percentage of revenue from the children’s genre that comes from video entertainment. Out of a total of £1.5 billion, the lion’s share, 70 per cent, comes from TV and the rest, 11 per cent, from cinemas.
50: the amount in percentage terms, of total revenue from Doctor Who that comes in to BBC Worldwide from video sales.
7 million: total worldwide unit sales of Planet Earth across Blu-ray and DVD. Profits were ploughed back into other BBC Worldwide programmes such as Human Planet and Frozen Planet.
750,000: UK DVD and Blu-ray sales of Senna (Universal).
62: the total percentage of revenue for Senna that came from those video sales.
6: the percentage of Senna’s revenue that cae from box office receipts.
54: the percentage of revenue from The Inbetweeners Movie That came from video sales. Some 40 per cent of revenye flooded in to 4DVD from box office and just six per cent from TV sales. The TV sales were lower because Channel 4 kept the rights to air on its own channels… As Channel 4’s head of DVD David Root notes: “Channel 4 understands its audience and it was because of our confidence of a healthy DVD income from the previous success of the Inbetweeners TV series on DVD that Channel 4 could budget to see a return on its investment and was able to fund the making of The Inbetweeners Movie. Without this millions of Inbetweeners fans might not have been able to enjoy their exploits on the big screen.”
60: the percentage of revenue from video release for Universal’s Paul. The rest of the split came from cinema (17 per cent) and TV sales (23 per cent). Universal president Eddie Cunningham said: “”As the BVA’s report shows, video continues to be a critical part of the film industry’s ecosystem and a significant driver of revenue. Working Title’s Paul and Senna are two great examples of British filmmaking at its best, and the revenue generated from video – more than 60% coming from home entertainment on these titles – is hugely important in helping British producers like Working Title re-invest back into production and continue to create great films.”
43: the percentage of revenue for Warner’s first Sherlock Holmes film that came from video sales in the UK.
77: the percentage of sales for Shank that came from video, making it one of the highest ratios and truly showing how retail, rental and digital are crucial to this kind of genre.
100,000 plus: Another Noel Clarke starrer, Lionsgate’s Screwed, shifted a six figure sum on DVD, with a whopping 95 per cent of its revenues coming from video. British director Reg Travis’ next film, Tower Block, will premiere at FrightFest this year and is also funded by Lionsgate…
0.5: The total, in billions of pounds, which is lost to copyright theft in the UK each year.
15: If video entertainment revenues fell by that amount in percentage terms, “content production would decline” say industry executives according to the report.
50: And if video entertainment revenues fall by 50 per cent it would have a devastating effect, the executives polled said. “It would have a severe impact. Production would fall by more than half,” was one typical comment.
84.21: the total in pounds spent on video entertainment by tablet-owning households in 2011. The normal UK average is a touch over £60. The report contains figures to show both challenges and opportunities facing our business.
80: the total in percentage terms of consumers who engaged in legal digital activity in 2011, up from 54 per cent in 2010.
9: the percentage of smartphone users who would be likely to watch films on their phones, a figure that rises to 12 per cent for TV product.Tags: BVA, in numbers
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