Download - the British Video Association

WITH INDUSTRY DIRECTORY
British Video Association

WITH INDUSTRY DIRECTORY

INDUSTRY GLOSSARY
App Short for application,
software embedded in internetconnected
devices.
Audiovisual Industry Video,
television, film content on any
legitimate platform.
AWOP Average Weight of Purchase.
% of units purchased in a given
time-frame.
Average Weight of Spend
Amount spent on a category
in a given time-frame.
Bandwidth A term used to
describe the capacity of an
internet connection defined as the
maximum bit rate downstream.
Bit rate The speed at which a
digital file is transferred expressed
in bits per second, eg 1 Bps. Bit
rate is defined in video streaming
to ensure interruption free viewing
of video files.
BitTorrent A peer-to-peer file
sharing protocol commonly used for
the illegal sharing of digital files.
Blu-ray Disc/BD High density
optical disc format for domestic
use. Used to carry Hi-Def audio
and video and interactive content.
The no 1 Hi-Def format of choice.
Cannibalisation Erosion rate
of legitimate transactions.
Digital File formats Audiovisual
files can be formatted in various
file types using differing standards
and codecs. These include Flash,
Windows Media, MPEG2 & 4,
Quicktime and Real.
Download-to-Own/DTO The sale of
digital video on the internet, where
digital files are downloaded to a
user’s hardware for multiple replays.
DRM Digital Rights Management –
Allows publishers to control access
to, and facilitate payment for,
their content.
DTT Digital Terrestrial Television.
Format Shifting Copying of
content from one form of storage
to another (for example, from a
CD to an MP3 player).
2
Industry Glossary
EST Electronic sell-through.
See DTO.
Hardware Physical devices,
eg Television, Computer, set
top box, disc players, mobile
devices etc.
HD-DVD High density optical disc
format for domestic use. Used to
carry high definition audio and
video and interactive content.
Developed by Toshiba.
HD/High definition/Hi-Def A set
of standards to deliver broadcast,
internet, or optical disc allowing
significantly better resolutions
than the previous PAL 625 and
NTSC 525 line pictures, typically
at a minimum resolution of
1280x720 to a ‘full HD’ standard
of 1920x1080p.
HD-Ready A term used for
televisions sold which are
compatible with HD standards.
Home Media Server A networked
storage device in the home used
to store music, video and picture
files for distribution to hardware
attached to a home network.
Also known as Digital Media
Server or Home Hub.
Hybrid Set Top Box A single set top
box that will access Digital TV and
download on-demand programming.
IPTV Internet Protocol TV. Content
delivered across the internet using
broadband connections and internet
protocols. Used in BBC iPlayer, 4oD
and other internet TV services.
Mbps Megabits per second.
NVoD Near Video-on-Demand
where multiple viewing times
are fixed by providers.
Penetration Proportion of people
or households.
PPV Pay-per-View.
The distribution of programming
on cable or satellite for a single
viewing, normally available
between DVD release and
terrestrial broadcast.
PSP PlayStation portable.
PVR Personal Video recorder, a
hardware device used to record
and time shift television.
Rentailer Rental store.
Socio-economic Groups
A – upper middle class, higher
managerial, administrative
or professional
B – middle class, intermediate
managerial, administrative
or professional
C1 – lower middle class, supervisory
or clerical, junior managerial,
administrative or professional
C2 – skilled working class, skilled
manual workers
D – working class, semi and
unskilled manual workers
E – those at lowest level of
subsistence, state pensioners or
widows (no other earner), casual
or lowest grade workers.
Software Programming which
interfaces with hardware to
provide a task or function.
Streaming The process of
delivering content over the internet
which starts playing before the full
file has been received. In general
streaming formats do not save the
file on the local hard disc, so the
content can only be viewed once.
SVoD Subscription
Video-on-Demand.
UMD Universal media disc,
developed by Sony for the PSP.
Video All pre-recorded formats;
includes DVD, VHS, UMD, HD-DVD,
Blu-ray and online.
VoD Video-on-Demand,
a rental model.
Wireless Multimedia Adapter
A device to transfer files from a
computer to a television across
a wireless network, for example
Apple iTV.
Please see also the glossary
on the BVA website
www.bva.org.uk/glossary

Contents
FEATURES
Industry glossary 2
Foreword 4
Chairman’s introduction 5
Director General’s review 6
BVA marketing review 8
British Board of Film Classification 10
Video Standards Council 12
International Video Federation 13
Federation Against Copyright Theft 14
Alliance Against IP Theft 16
Entertainment Retailers Association 18
Industry Trust For IP Awareness 20
Intellect 22
Market overview 24
RETAIL
Consumer sales 26
Digital 30
Shipments 34
Seasonality 36
Regionality 37
Releases 38
Genre split 40
Retailer shares 42
The growth of supermarkets 44
Company shares 46
Overall video chart – volume 48
Overall video chart – value 50
DVD chart 51
Blu-ray chart 52
Consumer insight – Blu-ray 53
Feature Film 54
Children’s 56
Music 58
Sport 62
Fitness 63
TV 64
Special Interest 66
All-time charts 68
Consumer behaviour 74
RENTAL
CONTENTS
Consumer market 80
Digital 82
Shipments 83
Regionality 84
Company shares 85
Genre split 87
Over-the-counter rental chart 88
Online rental chart 89
Rentailer shares 90
Consumer behaviour 92
GENERAL
Hardware sales & penetration 96
Technology intentions & ownership 98
3D 99
How consumers are accessing content 100
Leisure spending/PPV/VoD 103
Employment 104
Cinema 106
USA & Europe 108
Europe 109
Ireland 1 10
BACK PAGES
Directory 1 13
With grateful thanks 146
3

4
FEATURE
FOREWORD
by Ed Vaizey MP
Minister for Culture, Communication and Creative Industries, DCMS
The resilience of the audiovisual sector is
one that constantly surprises me. Last year
was undoubtedly tough but it is credit to the
video industry that sales held up.
Perhaps my surprise is misplaced; after all, audiovisual
content has an enduring popularity with people,
whether they are watching films, drama, documentaries,
children’s programmes, music videos, sport or comedy.
At times we get caught up in talk about the digital
environment, new business models and change, but
we also need to remember that there are also some
underlying constants. I believe that people’s love of
great content and the entertainment it brings is one
such constant.
I understand the importance of video within this
environment. I also recognise the challenge faced by
your organisations in continuing to ensure that video
delivers the financial returns required to ensure great
films and programming continues to be produced.
I’m aware it’s not getting any easier to deliver
those financial returns. Distribution is changing
and quickly and it’s unsurprising to see that digital
services are increasing in popularity. I wouldn’t say
that I see hundreds of people on the train back to
my constituency watching films on hand-held
devices, but it’s certainly many more than I did 18
months ago and on-demand services in the home are
also increasing in popularity. It’s great that people
are mixing the ways they consume video and I know
this trend can only increase as broadband expands,
both in speed and reach. It is a priority for me and
this Government as a whole that we see broadband
expand. We cannot have a situation where swathes of
people are unable to access the entertainment they
want over the Internet. Of course many challenges
“Distribution is changing
and quickly and it’s
unsurprising to see
that digital services
are increasing in
popularity.”
lie ahead in delivering that expansion, not least
in ensuring that content providers can monetise
their creativity.
The BVA is a leading light in tackling copyright
infringement, a critical part of the jigsaw if your
industry is to continue to flourish. No-one can be
left in any doubt if they’ve met Lavinia of her passion
and commitment to the cause. Solutions to digital
piracy do not come easily and raise genuine issues
of concern to the public, which we as Government
and you as industry need to address if we are to
build acceptability for those measures. Your industry
has shown commitment and leadership in this area,
both through education campaigns and the financing
of the measures proposed in the Digital Economy
Act. I applaud that commitment.
2011 is unlikely to be any easier than 2010 for
your industry given the structural changes facing
you and the pressure on family budgets that we
will undoubtedly see. All the creativity, skill and
innovation that brought the video business success
in the past will be required in the next few years,
but rest assured, I’ll continue to buy my boxed sets.

CHAIRMAN’S
introduction
by Anthony Peet
Chairman, British Video Association
2010 was another mega year for film, with
a record number of releases surpassing $1
billion at the global box office. Performances
of Toy Story 3, Avatar, Alice in Wonderland,
Inception – to name a few – indicate that
the consumer appetite for filmed content
certainly isn’t abating. But what does this
mean for our video business? Has this
translated into a record year for video sales?
We maintained our position as a leading source
of entertainment in the home – an excellent result
considering the increasing competition in the
entertainment sector. Yet despite a record year
at the box office, we’re no longer seeing a direct
correlation in value between the success of a film
at the cinema and how this is replicated in the
video market. Instead we are seeing a more
complicated, fragmented market emerging.
As an industry, I’m proud to see how we are responding
to this to maintain our relevance in an ever changing,
competitive and challenging consumer market. 2010
witnessed some milestones – against a backdrop of
economic instability and impending austerity, we saw
3D technology in the home establish a respectable
installed base at launch, despite the limited availability
of high-definition 3D content. Sales of iPads and tablets
in general have also been strong, indicating a wide
range of consumers increasingly comfortable with
new and more portable ways of consuming our
content – not just the super tech-savvy and early
adopters – a good sign for future digital sales.
FEATURE
“We maintained our
position as a leading
source of entertainment in
the home – an excellent
result considering the
increasing competition in
the entertainment sector.”
We responded by finding novel ways of introducing
high-definition 3D releases – some exclusively bundled
with hardware prior to stand-alone sales – to whet
consumers’ appetites. We are finding new channels
to sell digital content – triple-play has now become a
standard term across our industry and it is increasingly
common to find a digital copy accompanying physical
discs, helping to familiarise disc buyers to the digital
world ahead. We’re also being more inventive about the
types of titles we release on Blu-ray and we are seeing
more family titles, such as Beauty and the Beast, making
the top 5 best-selling Blu-ray chart which would suggest
that new buyers are coming into the market.
So although we’ve enjoyed easier trading climates, we
seem to be rising to the challenge well, continuously
finding ways to ensure consumers and retailers
actively choose to buy into video and its ever wider
entertainment offering.
As we look forward, we should remind ourselves of
what we have achieved in a year when most industries
experienced declines. This is particularly noteworthy
given the murky spectre of piracy looming over us,
spiriting away legitimate sales. We undoubtedly have
an even tougher year ahead, but our track record
should provide us all with the conviction to try new
things, embrace new platforms and most of all believe
in the strength of the video business.
5

1979 1980
Five years after the first VCR player was launched,
the player population was just 230,000. The first prerecorded
software appeared.
6
FEATURE
CHANGE
is in the air
by Lavinia Carey
Director General, British Video Association
What a difference a year makes!
At the start of 2010 we were looking for ways
to help video sales recover from the shock of
two major high street losses. 12 months on
we see developments in digital as well as
physical markets beginning to shape the
video landscape of the future.
What were these and how did they affect
the BVA’s work over 2010?
Where’s our new regulation?
With research continuing to show annual losses to
the audiovisual sector in excess of £0.5 billion due to
copyright theft, which is increasingly moving online,
tension was growing at the start of 2010 over the
amount of time the Digital Economy Bill was spending
in the House of Lords. Their Lordships were, quite
rightly, scrutinising this very long and complex piece
of legislation, into which an increasing number of
quick-fixes were being shoe-horned. Such has been
the time, effort and angst that has gone into achieving
political support for industry’s work to reduce digital
copyright theft, we worried that the Bill might run
out of parliamentary time before the General
Election had to take place.
By April we’d got the Digital Economy Act (DEA). It
promised to deliver, in the first stage, notices from ISPs
to end-users advising them that copyright had been
infringed on their accounts, recommending steps to
prevent this happening in future and pointing them in
the direction of legal sources of content – an entirely
reasonable approach given revenue lost and the
threat to jobs right across the creative industries.
Unfortunately, 12 months on, nothing has happened.
A failed judicial review requested by ISPs BT and
TalkTalk, in which the BVA joined others to support
the Government to interplead, was the chief suspect in
holding up the introduction of the Initial Obligations
Code that will trigger the start of the educational
process designed to reduce illegal P2P file-sharing. On
top of that, the BVA continues to argue the case with
others for the important site-blocking measure in s17
of the Act that needs secondary legislation to put in
place. This is also being held up at Ofcom by a review
requested by the Secretary of State, Jeremy Hunt.
And another thing
While they were debating possible regulation to help
us deter the wrong kind of behaviour online, the
government also committed itself to deal with concerns
that under-age children can get access to inappropriate
content currently exempt from statutory classification.
Hollywood studios started to enter the
rental market. The British Videogram Association
was formed.

Naturally this problem is not exclusive to physical discs,
or indeed to legal digital content, as increasing numbers
of younger children use mobile internet-connected
devices to view all kinds of video, games, clips in music,
etc. It’s extremely difficult for parents to rein in
browsing youngsters, if they haven’t already set the
terms of engagement, with the diversity of unregulated
material out there on the web, never mind the question
of whether it’s legal or on unauthorised sites with
“adult” content on display upfront.
This is a bit of a minefield; where does the video
industry’s responsibility end? The BVA takes this
very seriously and we have been in discussion for
over 18 months with our members, the BBFC, the VSC
and the BPI but we can’t help concluding that more
needs to be done to raise parents’ media literacy and
awareness, particularly so that they can steer young
consumers away from unsuitable and illegal areas. To
this end the BVA contributed to the development of the
Parents’ Guide to Music, Film, TV and the Internet (see
page 20) and we have been working on what possible
amendments to the regulation of physical media might
add by bringing more works within the scope of the
Video Recordings Act.
On the subject of consumers...
The changes in our business also need to be reflected
in the way the BVA communicates with the public
through the media and in our dialogue with politicians
and officials in order to make it clear that “video”
incorporates packaged media and digital platforms.
Thanks to the presence of Ed Vaizey at our 30th anniversary AGM in November, where we demonstrated
3D Blu-ray and LOVEFiLM’s online service through a
Sony connected TV, our Creative Industries Minister
is fully aware of these developments.
1981
The first trade publication, Video Business,
published the first rental chart, which was
topped by Jaws. MRIB was later formed to
compile these charts.
1982
VCR penetration reaches three million.
FEATURE
Last Summer we reviewed and refreshed the BVA’s
communications strategy to address the misconception
that video = DVD = declining relevance in the
entertainment mix. The first manifestation of this
fresh approach was our year-end announcement of
the video market value of £2.6 billion, including for
the first time the emerging download-to-own and
digital rental services.
Without recognition of consumers’ take-up of paid-for
services such as video-on-demand, video streaming and
downloading-to-own as another way of watching film,
television and made-for-video programming, the BVA
would be limiting the remit of its research, lobbying and
media relations to the confines of the physical world.
That world will never be the same again. While Blu-ray
continues to grow in popularity, some of this growing
digital activity is contributing to the decline in DVD
sales (page 28), as consumers who most frequently pay
for digital content spent on average 13% less buying
DVDs in 2010, according to Kantar’s Worldpanel. This
is evidence of our business evolving to meet the
increasingly diverse demands of its audience. Despite
years of anticipation, the digital market is in reality
very new and almost 60% of British people are still
sceptical about a totally digital future. But those
who are now viewing paid-for content on TV rather
than a computer are much more likely to be digital
enthusiasts; 48% of those watching TVs connected
to the internet say they are looking forward to the
time when most/all of their video purchasing will
be streamed or downloaded, compared with 31%
who watch it on a desktop computer.
Oxford Economics is conducting a survey for the BVA
to evaluate the role of video entertainment in the
audiovisual eco-system, both now and five years
hence when the digital market will be more developed.
The findings underpin our assertion that video
entertainment is not only as popular and vital as ever
but that it has a healthy future, providing consumer
audiences are properly understood. An overenthusiastic
zeal for shiny new technology, however,
must not upset the delicate balance between delivering
easy personal access and portability of content and the
sociable group viewing and collectability of DVDs and
Blu-ray Discs that the public still very much appreciate.
BVA Chairman Anthony Peet, the Minister, Lavinia Carey
7

MGM/UA shipped 20,000 copies of Poltergeist,
a record at that point.
8
FEATURE
Highlights in
HIGH DEFINITION
Blu-ray Partners 2010 by Simon Heller
British Video Association
Supported by the six major studios and with
help form hardware manufacturers, the Bluray
Partners organised a range of marketing
initiatives designed to support the continued
development of the Blu-ray market in 2010.
Our PR and promotions programme delivered a high
energy, high impact campaign which produced more
than 500 media articles and an advertising value
equivalent of £1.3 million.
At the end of 2009, Kantar research showed us that
consumers were becoming ever more aware of the
benefits of Blu-ray, but that that awareness was
failing to convert into action.
Kantar’s findings revealed more than six million HDTV
owners were missing out on high definition viewing
due to confusion about the kit that is required. In
April 2010 with an HD landmark in the form of the
World Cup looming, the BVA launched a major media
drive to dispel this confusion and reinforce Blu-ray as
a must-have technology for all HDTV owners.
1983 1984
With a strong hook and practical call-to-action, the
campaign enjoyed major national and regional print
pick-up, including the Daily Mail, Telegraph, Times,
Sun and many more. BBC News 24 and BBC Radio 5
Live ran lengthy interviews with Lavinia, who reinforced
that, at a fraction of the cost of an HDTV, a Blu-ray
player is a sensible add-on to enjoy the best sound
and picture possible.
In time for the World Cup a “bundle” promotion of a
player and six BDs was made available with the aim
of encouraging the consumer into trading up to Bluray.
It resulted in 40,000 additional consumers
adopting the format.
To mark the clocks going back in October, we mapped
the trend for HD Hibernation: the rising popularity
of home cinema as a way to socialise with friends
and family, thanks to top notch technology with an
affordable price tag. The story enjoyed more than
100 media hits.
In November we exposed the nation’s ‘gadget gaffes’:
the most unpopular technology gifts for Christmas.
With the help of Gadget Show expert, Jon Bentley,
we provided consumers with top-tips to navigate
these gifting pitfalls, including the appeal of multifunction
gadgets, such as PS3s, which can play games
as well as Blu-ray Discs. The story created extensive
media coverage, including Simon interviewed on Radio
4’s “You and Yours”. This was followed in December
by teaming up with BBC film critic, James King, to
propose the best Christmas flicks on Blu-ray. >
First Disney animated classic:
Alice In Wonderland.

y Mike Brown BVA Technology Policy Advisor
Connecting the viewer
Much has been written about the digital delivery
platform over the past few years, little of it bearing
much resemblance to what has actually taken place.
What, however, has been consistent and accurate is
the BVA view that digital delivery continues to be an
important growth sector within the overall content
market that will offer an additional choice of delivery
for the consumer and a further business opportunity
for BVA members.
And things are now starting to get real.
For the year ending December 2010, the digital sector
accounted for 11% of the total UK video entertainment
market in value. 2011 will herald the launch of many
new connected devices which will further stimulate
consumer demand for digitally delivered content. Up
to 70% of new TVs delivered this year by the major TV
manufacturers will be connected or ‘Smart’ TVs. Over
80 tablet computers were shown at CES in Las Vegas,
most of which will be available in the UK during this
year. The digital debate is now about the living room
not the computer room or bedroom.
In response to these developments, the BVA Council
agreed that in 2011 we would set up a new Technology
> We supported this with added value media partnerships
with gaming site, Gamespot, and breakfast TV favourite,
Daybreak, extending the reach of our campaign to an
extra 35 million consumers.
In addition to this PR and promotions activity, the group
developed a range of marketing tools (demonstration
disc, online materials, TV, press and poster advertising
boiler plates, consumer brochures and leaflets) which are
available for use by all distributors and retailers, under
the creative banner “Unleash the power of your HDTV”.
1985 1986
Video Collection (VCI) effectively launched the retail
market, releasing 50 titles in Woolworths at £6.99
each. These sold a million units in six months.
Hollywood studios enter the retail market.
FEATURE
Group, the key objective for which
is to ensure that we and our
members are fully apprised of
these new hardware developments
and the opportunity they present
for further channels of business.
The BVA is no stranger to the development of generic
communications strategies that help address consumer
confusion in the language that they will understand.
We have already done this with VHS, DVD and Blu-ray.
However, the digital proposition is far more complex.
The first task will be to ensure that we understand the
user experience; how do they find/access this content and
what are the issues once they get there and interact with
it. Then we have to tackle jargon busting: VoD, EST, IPTV
and OTT – what do these things mean to the consumer
and do we all use the same definitions? Then we will need
to agree and set these definitions. We will be organising
an event in June to talk about this agenda and the shape
of our industry discussions in the digital marketplace.
Finally and importantly, the brief for this Group
is not to be ‘anti-physical’.
The Group will endorse the BVA view that the
entertainment conversation must move away from
talk about which format is winning or losing and
focus on all the great content choices now on offer.
To increase consumer understanding through BD
packaging, in particular the “Double play” and Triple
play” SKUs, the Partners commissioned extensive
consumer research which enabled the BVA to produce
new packaging guidelines for all distributors to use
that will help improve buyers’ appreciation of the
benefits that different options are offering, including
digital copy for mobile devices. Gadget Gaffes radio day – Jon and Simon
9

Gallup extended its music retail audit
to cover video. The panel size was
doubled to 500 outlets.
10
FEATURE
30 YEARS
of Partnership
by David Cooke
Director, British Board of Film Classification
Thank you for inviting me to contribute to
the BVA Yearbook. I am particularly pleased
to do so this year because 2010 marked not
only the 30th anniversary of the BVA, but
also 30 years of an increasingly close and
productive working relationship between
the BVA and BBFC.
1987 1988
On the symbolic side, we marked these 30 years
of excellent cooperation by thanking Lavinia
Carey, her team and her members with the gift of
a commemorative BBFC ‘Black Card’. But on the
practical side we did so much more together over
the past 12 months.
2010 saw a number of joint initiatives between
the two organisations. These were aimed first
at reducing the regulatory burden on the video
entertainment industry under the Video Recordings
Act (VRA); and second at growing the voluntary
self-classification services which we offer to you.
On the statutory side, we continued to improve
the service we provide to BVA members. In response
to your suggestions and after a successful trial, we
launched the Pre-Booking Express (PBE) service in
May 2010. PBE allows you to pre-book a viewing slot
and expect a classification decision the same day.
It is especially popular in those cases where a
distributor’s deadlines are very tight. This premier
service attracts a 10% tariff increase on standard
submissions and was used 472 times in 2010.
Another initiative in 2010 was the launch, in July,
of on-line submission forms for DVD and Blu-ray
works. Using the online form enables the BBFC
to start research on a submission before the disc
arrives, saving up to a day in the processing time
and removing the need for the BBFC to duplicate the
data entry of the customer. Looking to the future,
we will phase out paper submissions by mid 2011.
VCR penetration approached
two-thirds of homes.

“We believe that these changes will help the video
industry do business effectively in the digital
space, using BBFC.online as a comprehensive,
trusted online labelling system.”
You also told us that you’d like our Consumer Advice
service for works being re-released, or for new boxsets,
to become more frequent. So we increased the
frequency of the service from two days per week to
five days, providing you with complete coverage
every day of the week.
Through the regular and successful quarterly BVA/BBFC
meeting, you asked us to look again at how we charge
for films which are released in both 3D and 2D versions.
BVA members proposed that the BBFC should charge
for a technical comparison only for identical 2D versions
of films which we had already classified in 3D. There is
of course a risk that in borderline cases where the
impact of 3D technology pushes a video work to a
higher category, the 2D version would carry a higher
classification than it would receive were it being
examined in full. But you preferred the certainty of
identical classifications. We were happy to agree to
this proposal and we introduced the new lower
charging mechanism in November.
On the voluntary side, BBFC.online, which was launched
in 2008 in partnership with a number of BVA members,
continued to grow. As of January 2011, we had issued
certificates to over 214,000 works for online distribution.
We also implemented other changes to the BBFC.online
service following discussion with the BVA and its
members and our other industry partners. These came
into effect in January 2011. They include issuing free
online certificates for all works classified under the Video
Recordings Act before 2011; tiered pricing to allow costeffective
service membership to smaller content owners;
and a Video-on-Demand (VOD)-only ratings service. In
addition, there is now an optional £10 charge for any
customer who wishes to secure an online certificate at
the same time as a Video Recordings Act classification.
1989 1990
Rain Man the first “straight to
sell-through” film.
Dirty Dancing becomes first video
to sell 1 million copies. CIN formed
to commission and market retail
charts (compiled by Gallup).
FEATURE
We believe that these changes will help the video
industry do business effectively in the digital space,
using BBFC.online as a comprehensive, trusted online
labelling system. We look forward to growing such
voluntary self-regulation in 2011.
2011 will also see the launch of a Government
consultation on exempt video works. The BBFC and
BVA, in partnership with local authorities, have been
working on a proposal for Government which would
prevent content in video works, such as documentary,
music and sport being freely supplied to children
where that content is potentially harmful to them.
The sort of content which could presently, quite
legally, be supplied to children includes strong
violence, including real-life executions; topless lap
dancing; racist language; self harm and drug misuse.
But as well as protecting children, any proposal we
put forward jointly must work for you. It must not
place an undue burden on BVA members or the video
entertainment industry as a whole. So what we are
likely to propose in response to the consultation will
recommend that the great majority of presently
exempt videos will continue to enjoy that exemption.
Speaking to Government with a joint voice on this
issue and ensuring an outcome which balances the
need for child protection with the commercial needs
of your industry will be a key aim for 2011. My colleagues
and I look forward to working with you on it.
Meanwhile, I would urge you to continue to use the
close relationship we enjoy to work with us to help us
improve the service we offer to you. Let’s keep those
ideas flowing!
11

12
FEATURE
RESPONSIBLE TRADING
by Laurie Hall
Director General, Video Standards Council
In 1989 the VSC was established as the sign of
responsible trading. Initially it represented all sectors
of the video industry (from distributors to retailers),
but from 2004 onwards it embraced the video games
industry. Over the past twenty years or more it has
played its part in demonstrating to Government and
the public that the industries do indeed have this
sense of wanting to do the right thing.
For the games industry membership, the work of the
VSC resulted in the establishment of the UK ELSPA
voluntary age rating system for video games in 1994.
The ELSPA (renamed UKIE in 2010) system formed
the basis of the Pan-European Age Rating (PEGI),
established in 2003, and which now operates across
32 countries. In the UK the PEGI system is now being
incorporated into law and the VSC will be designated
to administer it. In 1989 who would have thought
that this sense of responsibility would develop in
this way? However, this is a separate story.
At the core of the VSC is its Code of Practice which
applies to all sectors of the membership. The word
‘responsibility’ runs through all aspects of the Code.
It is not just a question of what the law says. It is also
a question of observing the spirit of the law and
going beyond what the law requires.
The Code has been reviewed a number of times over
the years. The latest version has just been finalised and
1991 1992
Fantasia becomes first video to sell 2 million units.
Value of the retail market overtook rental.
MRIB launches audit to estimate rental
transactions for the first time.
“The VSC Code is important for
the industries as it enables the
VSC to act as the fulcrum for
demonstrating compliance with
the letter and spirit of the law.”
agreed after consideration by a VSC sub-committee
comprising distributor and retailer representation.
The Code itself is basically a statement of good intent.
The Code Guidelines deal with each sector of the
membership and go into a greater degree of detail.
For the retailer membership, the Code goes even
further and incorporates Staff Training Guidelines.
The Guidelines primarily address the issue of age
restricted videos on all formats and games, and not
supplying them to anyone under-age. This is the law
in any event, but compliance with the Guidelines offers
retailers a degree of legal protection should a member
of staff (who has been properly trained) make an
unfortunate mistake. Should this happen, compliance
enables the retailer to consider including the ‘due
diligence’ defence in a prosecution.
Later this year the VSC will be taking its staff training
online and introduce an e-learning programme available
to VSC members. The introduction of this programme
will be incorporated into the new VSC website to be
launched to coincide with the change in the law for
video games.
The VSC Code is important for the industries as it
enables the VSC to act as the fulcrum for demonstrating
compliance with the letter and spirit of the law. Whilst
it is voluntary it remains a Government expectation,
and the VSC will continue to advocate the merits of
responsible trading on behalf of its membership.
The CIN panel increase to 1,300 stores.

The value of the video market
passes £1 billion. The Jungle Book
becomes first title to sell 3
million and then 4 million copies. The MRIB panel
was increased to 250 stores.
1994
FEATURE
MODERN TRADE ASSOCIATIONS
for a Modern Video Entertainment Industry
by Charlotte Lund Thomsen
Director General, International Video Federation
At the IVF and our UK member association and partner,
the BVA, we continue our efforts to promote the video
entertainment industry’s profile and to accompany our
industry’s transition from a packaged goods business
to a multi-platform video entertainment industry. Our
constituencies are constantly innovating and evolving
in response to new technologies and market demands,
and so we, the professional organisations, must also
adapt to new political and legal challenges as well as
to the latest societal preoccupations.
We estimate that in 2010 European consumers spent
close to ¤9.5 billion on video software, making it the
leading source of entertainment and culture for many
European citizens. Video entertainment, whether on
digital media or distributed online, thus remains an
indispensable economic player in the European film
industry and one of the most diverse business models
offering access to film, television, music videos,
children’s programmes, sport and many other forms
of entertainment enjoyed by European consumers.
Video entertainment means quality and good value,
access and choice.
The IVF and our local partners such as the BVA are
often at the forefront of the current debates about
the future of the copyright system (which forms the
basis of the film industry financing, production and
distribution model) and the increasing demands for
changes to the film industry’s business model.
1993
We devote much effort to promoting coherent EU and
national policies to ensure a level playing field and
regulatory consistency for online distribution services,
e.g. with regard to taxation (VAT) and contractual
freedom to license in the commercially most
attractive manner with regard to choice of business
model, chronology and territorial scope of rights.
Another indispensable line of action is seeking
improvements in the area of content protection and
enforcement of intellectual property rights urgently
needed to address Internet piracy’s damaging effect
on video entertainment market performance and to
create a level playing field and regulatory consistency
for our online distribution services.
To this end, we pursue a wide range of lobbying
initiatives in Brussels and at national level, individually
and collectively, in cooperation with our members, other
right holder organisations, and cross-industry alliances.
Apart from regulatory and legal improvements, we aim
to encourage a shift in the public debate from piracy
only hurting big multinational corporations to increased
recognition of the detrimental effect also on the
European cultural industries, creators and entrepreneurs.
Reflecting the truly modern nature and economic
value of our industry – and mirroring the efforts of
the BVA – we strive to maintain and expand the IVF’s
role as the driving force in the development of crossindustry
alliances and positions on key issues of
relevance also to the wider film industry, thus
preserving our reputation as one of the most
visible and efficient advocates of film right
holders vis-à-vis European decision-makers.
Millward Brown takes over the CIN chart, replacing
Gallup. The panel size is increased to 3,000.
13

Blockbuster and Global added to MRIB panel.
Asda, Dixons Group and MVC added to CIN.
14
FEATURE
360 DEGREES OF
CONTENT PROTECTION
by Kieron Sharp,
Director General, Federation Against Copyright Theft
“The judge’s comments...
highlighted the harm
caused to the industry
by the defendant’s actions
and also noted the threat
to the economy and to
peoples’ livelihoods.”
1995 1996
FACT is constantly having to adapt to
new and changing methods used to copy,
distribute and sell such material in both
digital and hard goods forms and keeps fully
abreast of technological developments.
In the past three years there has been a trend towards
illegal streaming of films and TV programmes as well
as live sporting events but downloading and filesharing
are still major outlets for pirated content.
FACT continues to achieve a high level of criminal
convictions. Over 600 such convictions were obtained
in 2010, with notable successes including jail sentences
of 30 months and 15 months for two people involved
in running an internet based counterfeiting operation
that involved international money laundering.
It is crucial to approach each case with a view to
achieving the best possible outcome, which means
that criminal prosecution of the offenders is only
one of a range of alternatives.
FACT has made major inroads into organised online
piracy in the UK, where we are able to prove that
website operators are making substantial criminal
profits from advertising revenues generated off the
back of increasing numbers of visitors.
Riverdance becomes the best-selling
non-film ever. Tesco and Sainsbury’s
are added to the CIN panel.

Counterfeit inlays Discs waiting to be burned Master pirate discs
It is vital that we continue to pursue criminal actions
against such individuals and we have been working to
ensure that we present the best possible evidential
packages to the police to enable them to arrest and
prosecute, whilst also ensuring that the sites are
taken down.
However, a major hard goods problem still exists in
the UK, where organised criminal gangs dominate
the production, distribution and sale of pirated DVDs.
As with our online work, we adapt our approach to
ensure that we maximise the impact. One example
is our ongoing strategy of targeting the supplier
of printed inlays to the organised crime gangs and
this has an immediate impact on the availability of
DVDs for sale on the streets. To date there have
been criminal convictions against the owners of
a printing company, with another case pending.
The FDA-funded Theatrical Investigation and Protection
Programme has once again proved to be a worldleading
success, with a 100% success rate in tracing
those responsible for making recordings and two
successful criminal prosecutions using the Fraud Act.
Additionally there were no UK sourced recordings over
a five month period at the end of the year. Cinema staff
are the cornerstone of this success and over £6,000 in
rewards was paid out in 2010 to employees who had
prevented recordings being made. Mobile phones are
now the primary devices used and guidance to staff
and police has been updated to reflect this through
a rolling programme of training and education.
1997
Star Wars Trilogy box sets generate consumer sales
worth over £40 million. Blockbuster added to the CIN
panel. The BVA starts consumer research quarterly,
interviewing 1,800 people about their video usage
and attitudes.
FACT’s co-ordinated, strategic approach to this
problem utilises all core elements of the organisation’s
operations (internet investigations, intelligence unit
and field investigators). Combined with the cinema
staff awareness training and outreach programme
and reward scheme, the overall enforcement
package is the envy of other countries.
One of the convictions for illegal recording under the
Fraud Act resulted in the defendant receiving a six
month prison sentence, which was later reduced on
appeal to community service. However, the important
point to note in this case is the judge’s comments
which highlighted the harm caused to the industry
by the defendant’s actions and also noted the threat
to the economy and to peoples’ livelihoods.
FACT operates a 360 degree service to its members
who are drawn from a larger pool than just the video,
film and TV sector; members include sports rights,
technology and services companies. In 2011 the
organisation is seeking to broaden its membership
base further to include other companies and sectors
who are suffering from the impact of piracy, whether
directly or indirectly.
FACT also offers a full service to law enforcement,
enabling it to gain access, cooperation and enforcement
at the highest level. In the harsh economic climate, with
cuts to public services, FACT is well placed to be able
to deliver results.
1998
FEATURE
Titanic becomes best-selling video of all time.
The MRIB audit renamed the Rental Monitor;
additional data supplied by Choices, Apollo and
MVC. Taylor Nelson Sofres takes over Media
Vision Research. CIN starts measuring DVD sales.
15

Taylor Nelson Sofres launches its Audio Visual
Trak consumer panel of 10,000 households.
CIN launched its on-line service.
16
FEATURE
WHEN AN
ALLIANCE
meets a coalition
by Susie Winter
Director General, Alliance Against IP Theft
Public affairs took on a new dimension in
2010 with the election of Britain’s first peacetime
coalition government in 70 years. While
we knew what the Conservative and Liberal
Democrat attitudes were to certain IP issues,
we didn’t know what the new Government’s
attitude was going to be and, indeed, how
the dynamics of coalition politics would
affect us.
1999 2000
The challenges in navigating these new dynamics
have been seen most visibly with the Digital Economy
Act 2010 (DEA). Passed in the ‘wash up’ (the period
at the end of a parliament when the main parties
decide which pieces of unfinished legislation they are
going to pass) implementing the Act is, unfortunately,
proving as difficult as getting the Bill passed.
First and foremost, coalition has meant compromise.
Even though the Conservatives supported the DEA,
the Liberal Democrats did not. This has meant
negotiation and compromise in order to ensure
provisions to deal with non peer2peer online
infringement remain on the statute book. The
Coalition’s compromise is that the section which
would create a legal process by which infringing
websites could be blocked by ISPs will be reviewed
by Ofcom. Importantly, however, this review is only to
consider whether it will work in practice, with Jeremy
Hunt, Secretary of State for Culture, stating on the
record that, “I have no problem with the principle
of blocking access to websites used exclusively for
facilitating illegal downloading of content”.
In addition, new Governments often bring with
them delay and a desire to review legislation and the
Coalition Government has proved no exception. In
addition to the review of site blocking, Ofcom (as we
go to press), is still yet to publish its Initial Obligation
Code, the mechanism by which notifications can be
Jungle Book overtakes Titanic as the best-selling
video of all time. Safeway and several “e-tailers”
added to CIN panel. Panel size now 4,800
stores. Gladiator becomes first DVD to sell
over 100,000 copies in a week. DVD hardware
penetration reaches a million homes. Total video
value passes £1.5 billion mark.

IP Minister Lady Wilcox is introduced to Stuart Lockyear
of Burberry by Alliance chair, Lavinia Carey, at its AGM
“The challenge for 2011 is to deliver further
campaign penetration so that the Real Deal
truly becomes a national initiative.”
sent to infringing account owners. Letters to subscribers
whose accounts have been identified as being used
to access illegal content were supposed to start
being sent in January 2011. It is now unlikely that any
letters will be issued before December this year. The
Alliance continues to work with our members and
partner organisations such as the Creative Coalition
Campaign to stress to the Government the impact
these delays is having on rights holders and the
effect on jobs and investment in our industries.
We were also faced with another review of intellectual
property. Frustrating though this was, it did provide
a platform to showcase the success of UK creativity
and demonstrate that growth and innovation is only
possible if a strong IP framework is in place that allows
this creativity to be protected and rights enforced.
Coalition, though, does also bring opportunities. In
the Secretary of State for Business, Vince Cable MP,
we have a Cabinet Minister who can actually claim
credit for introducing key changes to copyright law.
It was Dr Cable’s private members bill (legislation
recommended by the Alliance) that saw penalties for
copyright infringement increased to match those for
2001
Rental Monitor starts to measure DVD rental.
The Mummy Returns is the first DVD to sell over
200,000 copies in a week. Gladiator is the
first DVD to sell a million copies. Total video
value just under £2 billion. CIN renamed the Official
UK Charts Company (OCC).
2002
FEATURE
Susie Winter explains the Real Deal campaign to Local
Government Secretary of State, Eric Pickles
trade mark infringement and became the Copyright
Etc, and Trade Mark (Offences and Enforcement)
Act 2002.
The Real Deal campaign to rid markets and car boot
sales of fakes also continues to progress well, with
2010 seeing the 100th market join the campaign.
We had given ourselves the target 50 markets signed
up by the end of 2010, so to double that really does
demonstrate how well the initiative is received by
Local Authorities, Trading Standards and market
operators. A seminar in March 2010 organised by
the Alliance showcasing the Real Deal, with speakers
from markets already signed up and seeing the
benefit, was oversubscribed and promoting the
campaign was the focus of our stand at the Local
Government Association Conference. Delegates
were faced with the question: Are your markets the
Real Deal yet? The challenge for 2011 is to deliver
further campaign penetration so that the Real Deal
truly becomes a national initiative. This campaign
is being received very well by the new Government,
particularly since it meets its objective of seeing
less regulation and more voluntary solutions.
Taylor Nelson Sofres launches a new consumer panel,
monitoring consumption of Film at the cinema, on
rental and on pay-per-view.
17

Titanic reclaimed the title of best-selling video
of all time. DVD represents 70% of entire retail
market. Peter Kay – Live At The Bolton Albert Halls
becomes best-selling Special Interest video of
all time after just seven weeks on sale.
18
FEATURE
A FOUR POINT PLAN TO
EMBRACE
the future
by Kim Bayley
Director General,
Entertainment Retailers Association
Amid all the noise surrounding the changes
facing the video industry, it is easy to get lost
in the detail.
That’s why ERA is setting out its stall with a clear menu
of action points which we believe will help smooth the
path to the future:
First, we shouldn’t abandon the present in our
enthusiasm for the future. We should recognize that
we are way ahead of that shown by the consumer.
Digital revenues are just a small percentage of
the whole and even in the most digitally developed
entertainment market – music – digital revenues
are still eclipsed by physical. Blu-ray has made rapid
progress, but we have some work to do to persuade
the mass-market of the very real benefits offered by
our high definition format. The fact is we need to
solidify Blu-ray as the reference physical format
for the next decade.
3D has provided a welcome boost, but it could all too
easily fizzle out. We should not forget that physical
formats offer benefits that downloads or streams never
can. Nor should we fall into the trap of believing the
2003 2004
digital/physical debate is a matter of either/or. Not only
can they can co-exist, potentially they can support each
other too.
Second, we need to cast our net wide in terms of
information gathering so we get the broadest possible
understanding of the changes taking place in our industry.
Too often the video industry is content to exist in a
number of inward-looking silos. We have to think beyond
those silos if we are to really understand what’s going on.
Rental, download-to-own, video-on-demand, streaming
– all have a part to play in the new world and it’s vital
we understand how they fit together.
That’s why ERA’s Video Board is keen to extend the
range of data sources which feed into the industry
statistics compiled by the Official Charts Company.
Third, we need a breadth of vision which encompasses
a helicopter view of the big issues as well as a
command of the day-to-day detail of how consumers
are behaving.
This means on the one hand being plugged into the big
international initiatives like DECE (aka UltraViolet), but
also having a complete command of weekly sales data
patterns. ERA is prioritising both and is looking in
particular at bolstering its research resource to
provide members with the best-quality real-time
information we can.
The final item on our checklist concerns cooperation
with our industry partners. At a time of change, it is
tempting to be defensive rather than open to the new.
We must avoid this temptation.
The BVA and ERA and their members have a strong
record of working together over many years to
counteract the huge threat of piracy to our business
– through the Industry Trust, the Alliance Against IP
Theft and the Creative Coalition. The changes in our
business mean we must learn to work closely not just
to protect our business, but to develop it for the future.
The Lord Of The Rings: The Fellowship Of The
Ring becomes best-selling title of all time,
breaking 6 million unit mark. BVA multiplier
added to OCC on-line system.

PROUD TO BE
SUPPORTING THE BVA
THE YEAR OF AWESOMENESS
©2011 BY PARAMOUNT PICTURES. ALL RIGHTS RESERVED.
©2011 BY DREAMWORKS ANIMATION LLC. ALL RIGHTS RESERVED.
KUNG FU PANDA 2
TRANSFORMERS 3
COWBOYS & ALIENS
CAPTAIN AMERICA
TRUE GRIT
SUPER 8
RANGO
THOR

The BVA celebrates 25 years. Launch of the UMD
format. ERA provides value data to the Industry.
20
FEATURE
ONE SIMPLE,
COHESIVE MESSAGE
by Liz Bales
Director General, Industry Trust for IP Awareness
As the UK creative industries await
implementation of the Digital Economy
Act [see page 6 & 16], it is the Trust’s
belief that consumer education is a
platform on which all parties can unite
and take action today, from internet
services providers to rights holders across
all creative sectors. Regulation can give
added impetus to that education as Ofcom
is obliged to monitor the extent to which
the creative industries have made content
legally available and the steps we are
taking to change public perception
around copyright and its infringement.
2005 2006
With the successful ‘You Make The Movies’ campaign
playing in cinemas across 2010 the Trust took the
opportunity to review its strategy and evolve its
messaging to fit the current climate, which now sits
in two distinct strands. The first seeks to educate and
inform – to break down the barriers to trial and take
up of official sources and in so doing address apathy,
confusion and criticism. The first major initiative under
this strand was the publication of ‘Music, Film, TV and
the Internet. A Guide for Parents and Teachers’. The
Guide highlights the many official digital sources of
entertainment and outlines the safety and ethical
implications of using unofficial file-sharing sites. It
seeks to empower parents and teachers to be able
to discuss responsible internet use with young people.
Created in partnership with the BPI, IFPI and Childnet
and building on their earlier work which had been
music-specific, the Guide was updated for 2011 and
given a significant PR push delivered by Kym Marsh
and Childnet. The initiative has been hugely successful
and reflects the importance of creative sectors working
together and how by doing so the message is amplified.
Hi-Def software launched with the release
of HD-DVD and Blu-ray in Q4. Pirates of the
Caribbean becomes the fastest-selling DVD
of all time, achieving 1.5 million units in its
launch week.

The second strand of activity seeks to inspire people
to do the right thing and to signpost official sources,
capitalising on peoples’ passion for content to make
them care about creativity and the copyright which
underpins it. The ‘Moments worth Paying For’ campaign
is the largest single education initiative launched by the
UK’s audio-visual industry, topping £5m in media value
across 2011. The emotionally explosive trailers celebrate
the intense payback of great viewing experiences – and
propose that this is ‘worth paying for’. The campaign
also highlights the wealth of official ways to watch film
and TV by directing viewers to findanyfilm.com –a
gateway to official film, video and TV services across
a range of formats, on and offline.
We will continue to run other effective initiatives, in
particular Screenthing on Facebook which engages
our youth audience on issues of copyright and the
creative process of making content and Screen
Champions, its offline equivalent which is delivered
in a more structured classroom environment and
connects with a range of existing programmes
currently delivered by networked youth organisation
partners, Cineclub, FILMCLUB and Film Education.
2007 2008
OCC adds value data, to become a single source
of volume and value data by product line for the
first time ever. First full year of Hi-Def software
selling over a million units. PlayStation 3
launches in March. Total market sales hit 250 million
making it a record year; the best-selling title of all time
LOTRs: The Fellowship Of The Ring broke the 7 million
unit barrier.
FEATURE
A Guide for Parents and Teachers was updated for 2011
and given a significant PR push delivered by Kym Marsh
and Childnet:
• Over 100 pieces of coverage in print, broadcast and online
• PR value of £285,000 (ROI of 9:1)
• Over 30,000,000 opportunities to see
• 69% of target audience (25-54) reached
• 50 copies of the Guide were shipped to every
secondary school across the
UK and including requests,
the total number of leaflets
sent so far is 417,708.
The Real Deal initiative also gains momentum as
we move through 2011. Established in June 2009
to tackle the problem of fake goods on sale at UK
markets, the national charter has been signed by
over 115 markets across England, Ireland, Scotland
and Wales.
Representative of the broad collection of stakeholders
who have made the project a success, in 2011 the costs
have also been shared and resources from the Trust,
ACG, UKIE and BPI are now supplemented with
contributions from adidas, ghd, Louis Vuitton and
Manchester United Football Club. This helps to
further reinforce the value of IP-reliant industries
working together.
We extend our thanks to the BVA and its members.
By working together, all parties can benefit from the
increased resource and reach of a joined-up approach
and, most important of all, guarantee that UK consumer
receives one simple cohesive message.
For more information on the Industry Trust and
access to its campaign assets, please visit
www.industrytrust.co.uk.
Mamma Mia! – The Movie becomes fastest-selling
title of all time, selling 3.1m copies in week one,
plus highest grossing box office ever, taking
£69.2m. Blu-ray beats HD-DVD to become the
leading hi-def format. After 99 years of trading,
Woolworths and its distribution arm EUK go into
administration. Zavvi is another casualty of the
21
“credit crunch”.

Blu-ray sold 8.4m discs, up 123% on 2008. Borders
the bookshop chain goes into administration at the
end of the year.
22
FEATURE
LOOKING FOR
MONEY
down the front of the sofa
by John Higgins
Director General, Intellect
Over the last ten years the word innovation
has split the worlds of technology and
content. A fierce burst of technological
innovation has left Apple second only to
Exxon as the largest company in the US.
And it has seen new consumer electronics
giants such as Samsung join Sony and
others on a wave of new technologies
such as flat-screens, HD and now 3D.
However, it’s innovation that could – understandably –
tempt some in the content industries to duck and reach
for a tin hat. There's is no doubt that the exuberant rise
of the internet and other technologies ran ahead of the
ability to protect and monetise content. Musicians,
studios and others have lost out in the past.
But looking ahead to the next ten years, content and
technology industries will have to innovate together,
or wither separately. Unless we learn how to make
money from content delivered to the consumer
2009 2010
®
in their living room, their electronics will become
commoditised and content creation uneconomical.
The future for many CE companies is in providing
service platforms, on top of their hardware offer or
high-end equipment for 3D and other event-based
viewing, where broadcasters and studios have to
know they can recoup that investment and not see
it scattered across the peer-to-peer network. Either
way, it’s in partnership with content producers.
We can’t prescribe what the future looks like but one
thing is sure; to make the consumer part with their
money on their sofas, we will need to offer them
assurance on format stability, simplicity of interface
and robustness of delivery over IP. Together we have
common cause in pressing for the UK to have a truly
modern broadband system, as the market for visual
over IP TV grows.
The rise of the smart TV and tablet computer or pad
signals a ripple of change passing through people’s
homes, connecting all their devices to the internet.
Already some 60% of mobile broadband traffic is
video and it’s predicted that soon over 90% of fixed
internet traffic will be video. Within fewer years than
anyone expects, a vast percentage of interactions
with the internet will be via the thumb on a remote
control, or the swipe of a finger on a screen, rather
than tapping on a keyboard.
The prize is to turn the wild west of the early internet
into a place where consumers and their families can
securely and conveniently buy content in their living
rooms. Intellect will continue to work closely with the
BVA to get there; at a time when we are thinking of
UK economic growth above everything else, we need
technology to support the market for the creative
industries. Our own UK CE conference on 5 July will,
for the first time, look at the whole chain of content
creation and consumption, from studio to sofa, so to
speak, and involve the content industry as never before.
30th Anniversary of BVA's foundation in August 1980.
We mark the occasion at BAFTA with Creative Industries
Minister, Ed Vaizey. Apple launches its iPad tablet.
Mamma Mia! – The Movie becomes the first DVD to
pass 6 million units. Avatar grossed £94 million at
the UK box office.

Coming soon in 3D!

This includes all physical and digital sales and rental
transactions and represents a very modest decline of
-1% from the total 2009 value at retail prices. It does
not include online subscription services, nor other
non-video audiovisual propositions related to sports
or services free at the point of use. Video volumes
were somewhat lower, at just over 4.6% less than
2009 figures.
In the first two decades of the BVA’s existence it was
simple to track video sales and rentals while all the
transactions on VHS cassettes and then DVDs could
be gathered by independent research companies from
24
MARKET OVERVIEW
Market Overview
UK consumer video purchasing
by volume and value
Video entertainment held up well during 2010 in relation to other industry
sectors and the retailing business in general, despite the economic backdrop.
The value of the UK video entertainment industry stood at £2.6 billion last year.
2010 UK Video Market Breakdown
Volume Value
Total
volume
365.1m
Physical Retail
223.4m 61.2%
Physical Rental
72.2m 19.8%
Digital Retail
12.2m 3.4%
Digital Rental
57.4m 15.7%
EPOS systems installed in stores. By adding the retail
value of total video sales and rentals the BVA was able
to assess the combined size of the industry. However,
now that legal digital services are beginning to have
a significant impact on the way people are watching
video entertainment – and we explore this within
the 2011 Yearbook – the industry is seeking sources
for online and IPTV transactional information to
supplement those for physical data. The most reliable
basis for gathering this at present is through IHS
Screen Digest, which has regular feedback from
content providers and suppliers of delivery platforms.
Physical Retail
£2,089.7m 80.6%
Physical Rental
Total
value
£207.7m 8.0%
£2,594.3m Digital Retail
£76.1m 2.9%
Digital Rental
£220.7m 8.5%
Source: IHS Screen Digest/OCC/BVA

It is not surprising to note that both the value and
volume of digital video consumption took a slightly
higher percentage share of the overall video market
in 2010 compared with 2009, with sales rising 27.5%
in value to £296.8 million and 15.5% in volume to 69.6
million transactions on the previous 12 months. While
digital rental services, including streamed and VoD
packages, represent the largest slice of this business
and saw healthy growth, the biggest relative growth
came from the smaller electronic sales, or downloadto-own
(DTO) business, which grew 56% in volume
and more than doubled in value.
As this fast-changing fledgling sector of the video
industry develops, and it has already witnessed some
early start-ups disappear from the scene, it has been
difficult to track all the new consumer offers that have
sprung up on the multitude of different platforms and
devices which are becoming increasingly attractive to
consumers in terms of both ease of use and affordability.
So obtaining, aggregating and analysing commercial
data from these providers has thus far been impossible
to achieve. To start with the BVA has been focusing on
the DTO/EST services from the likes of iTunes, Xbox Live,
LOVEFiLM, Sony PlayStation’s Video Store, Blinkbox
and others, with the goal of launching a data feed and
chart through the Official Chart Company as soon as it
is viable. Once this is up and running, we will turn our
attention to the more complex and numerous rental
models. We are also working with Kantar WorldPanel
to help develop their digital consumer panel as a
consistent resource for monitoring the progress of
the overall digital video marketplace.
2009 UK Video Market Breakdown
Volume Value
Total
volume
382.7m
Physical Retail
243.5m 63.6%
Physical Rental
78.9m 20.6%
Digital Retail
7.8m 2.1%
Digital Rental
52.5m 13.7%
MARKET OVERVIEW
Against the setting of technological evolution, sales
and rentals of DVDs and Blu-ray Discs took a slightly
smaller percentage share of video sales and rental
transactions in 2010 compared with 2009. With the
recessionary pressures on the economy and its effect
on the retail sector, it would be easy to put this down
to lower consumer expenditure, but we should not
forget the additional impact that illicit and illegal
video consumption contributes to the cannibalisation
of sales and rentals across the whole audiovisual
sector, estimated at over £0.5 billion by the industry’s
annual tracking study, conducted each November
by IPSOS. The temptation to access unauthorised
sources and buy fakes at markets and in the street
must be all the greater when people feel they have
less disposable income.
Nevertheless, retail sales and rentals of DVDs and
Blu-ray Discs are still the most popular way for people
to consume video content and they account for by far
the greatest share of the market, representing 89%
of the 2010 total video entertainment business,
worth £2.3 billion, and 81% of all 2010 video volumes,
totalling 295.5 million transactions. Packaged media
is expected to remain consumers’ preferred choice for
the foreseeable future. What differentiates viewers’
behaviour now from the 1980s and 90s is that
individuals are no longer restricted to one format, but
can opt for a combination of devices and platforms to
suit the time and the place that they wish to watch
video, as we see later in this Yearbook.
Physical Retail
£2,166.9m 82.7%
Physical Rental
Total
£221.5m 8.4%
value
£2,621.1m Digital Retail
£35.1m 1.3%
Digital Rental
£197.6m 7.5%
Source: IHS Screen Digest/OCC/BVA
25

RETAIL Consumer Sales – all physical and digital formats
60
66
73
20
48
38 40
12
6
45
£50 £100
£168 £315 £342£402£462 £587
£784
£721
£637
£733
79
£896
87 100
£1,100
96
£1,417
£878
114
£1,896
135
£2,244
169
£2,478
£2,317
£2,229
234
222
229
208
£2,436
£2,428
251
£2,202
263
251
236
1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010
Volume: VHS DVD UMD HD-DVD Blu-ray Digital retail
Value
Source: BVA/OCC/ERA/IHS Screen Digest
Note: In August 2007 the Official Charts Company (OCC) added value and average price data to its existing volume service.
The BVA adopted this new value methodology which means that 2007 value figures are not comparable with 2006 or historic years.
Figures differ from those quoted previously due to updated digital data.
2010 marked a year of considerable change, with the
longstanding Labour government ousted after 13 years
in power, replaced by the first coalition government in
decades. Meanwhile economies across Europe faced
bankruptcy and there was a fear the UK would lose
its triple A credit rating. There was even talk as to
whether the Euro itself could survive the economic
turmoil generated by Ireland’s need for a bail out
and the ongoing financial woes of Greece, Spain
and Portugal. Labour’s plans to spend our way out of
recession gave way to the Conservative-led coalition’s
decision to focus on cutting the large budget deficit.
An austerity programme was introduced which has
included the decision to increase VAT to 20% in 2011,
big cuts in public services and benefits, as well as
charging up to £9,000 for university fees.
All this took its toll on consumer confidence, which
started 2010 relatively high but ended the year 24
points lower, according to the Nationwide. Credit
remained difficult and expensive to access, which
affected businesses and individuals, although the
exceptionally low base rate (0.5%) continued to
bolster spending.
Against this backdrop of economic turmoil demand
for audiovisual content remained strong, although
was not immune to a modest reduction in income.
In total demand for content to keep, in the form of
DVDs, Blu-ray Discs, a small number of UMD, VHS
and HD-DVDs, as well as digital downloads, was
worth £2.17 billion in 2010, just 1.6% down on 2009.
26
Retail video consumer sales
£2,166
In terms of volume there were 235.6 million titles
bought in the year and this was down 6.3% on a year
ago. Demand for physical discs remains by far the most
important part of the market, accounting for 95% of all
purchases, although legitimate digital downloads are
certainly growing in significance, representing 5% of
the market in volume in 2010, up from 3% in 2009.
On a value basis download-to-own accounted for 4%
of sales in 2010, double that of 2009.
According to IHS Screen Digest there were 12.2 million
paid for downloads made either on TV platforms or
online in 2010 and this was up 56% on the estimated
7.8 million achieved in 2009. While there remains no
digital retail audit for audiovisual transactions, IHS
Screen Digest’s estimates are the most comprehensive
available to the BVA.
Blu-ray Disc unit sales rose 55.2% in 2010, but demand
for physical discs overall fell 8.3%, largely due to a
reduction in DVD volumes. The format is well established
now in the UK and slowing demand for catalogue was
responsible for most of this fall. On top of this, 2009 was
a 53-week year so we compare 52 weeks in 2010 with 53
in 2009. On a like-for-like basis the drop of 8.3% would
be much less marked. It is also worth pointing out that
the severe Winter weather, which saw two bouts of heavy
snowfall, hindered Christmas shopping and undoubtedly
affected consumers’ access to product at a key selling
time. According to the Office for National Statistics,
overall retail sales fell 0.8% in December, with shoppers
spending some £1 billion less than in November 2010.

RETAIL Consumer Sales – all physical and digital formats
Consumers bought 235.6 million video titles in both
physical and digital formats in 2010, which was 6.3%
less than in 2009. DVD remains by far the most
popular way of accessing content, accounting for
89% of all purchases, amounting to 210 million
disc sales in the year. With the format being so
well established, declining demand for catalogue
titles, which had been at a record high in 2009,
drove these losses, down 13%. Consumers have
been avidly collecting favourite older titles due
to very affordable prices but the rate of purchase
simply has not been sustained. In terms of value
DVD was worth £1.9 billion in the year, accounting
for 87% of the total video sales.
In its fourth full year of availability the Blu-ray Disc
continued to grow in importance, accounting for 6%
of the video market by volume, having sold 13.0 million
units, 55% up on 2009. In terms of value it was even
more significant, accounting for 10% of total sales
compared with 6% in 2009. This made the format
28
Volume split by format
Year DVD Blu-ray Digital UMD HD-DVD VHS
1998 0.2m 0.2%
100m 99.8%
1999 4m 4%
92m 96%
2000 17m 15%
97m 85%
2001 41m 31%
94m 69%
2002 90m 53%
79m 47%
2003 145m 70%
63m 30%
2004 196m 84%
37m 16%
2005 211m 95%
0.5m 0.2%
10m 5%
2006 227m 99%
0.1m 0.1% 1.1m 0.5%
0.8m 0.4%
2007 248m 99% 0.8m 0.3% 1.0m 0.4% 0.4m 0.2% 0.3m 0.1% 0.1m 0.0%
2008 253m 96% 3.7m 1.4% 5.2m 2% 0.4m 0.2% 0.8m 0.3% 0.0m 0.0%
2009 235m 93% 8.4m 3% 7.8m 3% 0.4m 0.1% 0.1m 0.0% 0.1m 0.0%
2010 210m 89% 13.0m 6% 12.2m 5% 0.2m 0.1% 0.0m 0.0% 0.1m 0.0%
Value split by format
Year DVD Blu-ray Digital UMD HD-DVD VHS
1998 £3m 0.3%
£893m
1999 £63m 7%
£815m
2000 £246m 22%
£855m
2001 £601m 42%
£816m
2002 £1,213m 64%
£683m
2003 £1,754m 78%
£491m
2004 £2,244m 91%
£234m
2005 £2,245m 97%
£7.2m 0.3%
£64m
2006 £2,215m 99%
£0.10m 0.0% £10.0m 0.4%
£4m
2007 £2,407m 99% £16.8m 0.7% £2.6 m 0.1% £3.5m 0.1% £6.1m 0.2% £0.4m
2008 £2,333m 96% £69.6m 2.9% £17.0m 0.7% £2.7m 0.1% £5.8m 0.2% £0.2m
2009 £2,023m 92% £140.8m 6.4% £35.1m 1.6% £2.1m 0.1% £0.5m 0.0% £0.8m
2010 £1,878m 86.7%
£209.9m 9.7% £76.1m 3.5% £0.9m 0.0% £0.2m 0.0% £0.7m
99.7%
93%
78%
58%
36%
22%
9%
2.8%
0.2%
0.0%
0.0%
0.0%
0.0%
Source: BVA/OCC/ERA/IHS Screen Digest
Note: Change in value methodology. 2007 value figures are not comparable with 2006 or historic years. Proportions rounded
worth £210 million in the year. As is typical of newer
formats it has commanded a higher average price
compared to DVD. Blu-ray Disc’s average price in
2010 was £16.19, down 3.9%, making it the cheapest
it’s ever been for consumers, while DVD reached
£8.94, up 3.6%.
IHS Screen Digest estimate that digital downloads of
video content accounted for 5% of total volumes in the
audiovisual sector in 2010, with 12.2 million titles sold
through this channel. This represents a 56% increase
on 2009, making it the biggest growth area of the
market. Digital sales were worth £76 million in 2010,
more than double that of 2009 (up 117%). The average
price of each digital download was an estimated £6.21
and this was up 39% on 2009.
The remaining physical formats (UMD, VHS and HD-
DVD) accounted for just 0.1% of the market in volume
and value. While few new titles were released on any
of these formats some stock continued to be sold.

RETAIL Digital
Digital Retail
(EST, DTO) iTunes,
Playstation Store,
Xbox
Online
Video via Open
Internet Broadband
Digital Rental
iTunes, Playstation
Store, XBox, AceTrax
Digital retail Digital rental
Standalone
Subscription
SeeSaw
Bundled
Subscription
LOVEFiLM
A key feature of the legal digital video landscape is
the large number of digital delivery models available
to the consumer, which makes categorisation complex.
Working with IHS Screen Digest the BVA has created a
simplified structure of this business, shown in the flow
diagram above.
The television connected to a set-top box provided
the earliest form of digitally delivered content to
consumers via propositions such as Pay-per-View
and Near-Video-on-Demand. These enabled users to
pay to watch once, for a limited period, rather than
to keep, and have been joined more recently by true
VoD services. They fall into the rental section of the
Yearbook and are therefore covered in more detail
on page 82.
The open internet now provides a number of digital
options, but for a long time these were only available
to watch on a computer, so the potential audience
was limited by the size of the screen. One of the most
popular in the sector is catch-up TV, dominated by
BBC’s iPlayer. This effectively generates no income for
owners and as such is treated separately by the BVA.
Other online options currently include digital rental
(content with limited viewing period) and subscription
services (with a fixed monthly fee to access content)
which are variously offered by the likes of iTunes,
Blinkbox and LOVEFiLM to TV and PC. Xbox and
Playstation’s networked services offer similar options
to device owners who have connected their consoles
to the open internet. These also fall into the rental
section and are included on page 82.
30
Digital video structure
Digital
Subscription
PictureBox,
Fetch TV
Free to view
iPlayer,
ITV.com, 4oD
Advertising
Supported
SeeSaw,
Blinkbox,
Babelgum
True VoD
Virgin, BT Vision
TV VoD
Near VoD
Sky Box Office
Source: IHS Screen Digest/BVA
Electronic-sell-through (EST) or download-to-own
(DTO) is another way in which consumers can access
content via the internet and the BVA considers that
as ownership of a title takes place these purchases
naturally fall within digital video retail.
Focussing on paid for DTO, IHS Screen Digest estimate
that this part of the market was worth some £76
million in 2010, up 117%. This strong growth rate
indicates the appetite there is for this method of
accessing content.
Apple’s iTunes Store (iTS) continued to dominate the
movie and TV digital retail market in 2010. Fashionable
Apple devices, ease of access and the service’s
familiarity to iPod, iPhone and iPad users offers
consumers easy access to digital video and thus has
continued to drive download sales. As a result Apple
accounts for up to 89% of the open internet segment
of the digital retail market, according to IHS Screen
Digest. In the UK the iTS was the first legal service to
offer premium online video content with any consumer
success. The remainder of the open internet segment
of the digital retail market is largely accounted for by
Sony’s PlayStation Network (PSN) and Microsoft’s
Zune. Both games console-based online multi-player
gaming and digital media delivery services have grown
their respective content catalogues over 2010 through
new deals with content owners. Additionally, both
now offer free-to-air catch-up TV services, further
incentivising console owners to investigate their
use as video entertainment hubs.

Digital RETAIL
g g
Have you used a legitimate
digital service?
Total legal digital activity
54%
Total free 52%
Total digital paid
for (inc PPV)
Total digital paid for (inc
PPV) more than twice
Rent/stream
Download to own
Watch on set top box (Sky
Box Office, Virgin Film Flex)
7%
18%
15%
13%
26%
% GB population engaging in each form of digital content usage.
Source: Kantar Worldpanel
Critically, the introduction of high definition movies and
TV programming has had a far more significant impact
on average retail pricing through these services than
for physical video. Price stability on standard definition
content and the higher price charged for high definition
has lead to an increase in the average price of digital
content, thus helping to increase consumer spending
in the sector. These price increases have been made
possible by a number of factors common across
these digital services. The purchase of one of these
devices (such as a games console) represents a not
insubstantial investment which consumers feel
compelled to make good use of. Furthermore, once
accessed by the consumer, the device’s associated
retail environment is completely managed by the
service provider, making direct price comparisons
to services outside the environment more difficult.
According to Ofcom total household broadband
penetration continues to rise, reaching 71% of homes
by quarter one 2010. Interestingly the main driver of
this was the take-up of mobile broadband connections.
Improving broadband speed is a key driver to the
uptake of digital video consumption. The general trend
being seen is a move to higher speed packages. 24%
of connections were over 10Mbps in May 2010, up from
8% in April 2009. While advertised speeds and actual
speeds vary enormously, Ofcom reports that the gap
has widened although average download speeds are
up 27% to 5.2Mbps.
User cross-over in legitimate
paid for digital markets
Download/own
27.1%
15.9% 4.8%
4.1%
31.8% 5.2% 11.5%
Rent/stream
Set top box
(Virgin & Sky)
Source: Kantar Worldpanel/BVA
It is unlikely, however, that mobile broadband will
eclipse fixed broadband services in the near future, as
has happened in the voice market, as it is currently
difficult to see when speeds will match. HSPA-enabled
mobile networks are capable of speeds of up to 14Mbps,
while actual speeds are typically less than 1Mbps,
around a fifth of fixed-lines.
The BVA has continued to explore the adoption
of digital in its annual research study with Kantar
Worldpanel. The latest study found that 73% of the
population (35 million people aged 13-79) have internet
access and some 54% of the population have
accessed a digital service in the last year, with the
majority having watched free content through catchup
TV. According to the Kantar study 26% of people
have paid for a digital service (retail and rental) and
18% have used one service at least three times,
showing that this is not just a “novelty” for them.
13% of people, equivalent to 6.3 million, paid for a
download-to-own file, up from the 10.9% in 2009.
Looking purely at the activity of digital users paying
for content, shown in the Venn diagram, we can see
the crossover that exists between different sectors.
Renting/streaming is the most popular way of accessing
paid-for content which is probably linked to cost. IHS
Screen Digest estimate that the average price of a
digital rental in 2010 was £3.85 compared to £6.21
for a download.
31

RETAIL Digital
Do the free content consumers look different to the paid-for content consumers?
Free Services
65% 25-44,
54% male
Higher penetration makes this
group the most “average”
Why do people use paid-for services
to view digital content?
To watch instantly
Flexibility of where
to watch
Easier/more convenient
than shop
Cheaper than buy physical
Enjoy new technology
Prefer to store digitally
Other
Save shelf space/clutter
7.5%
6.0%
5.1%
5.0%
11.3%
Those paying for downloads and streams are more likely
to be male, with 55% under 30. Those using PPV
services are more likely to be families. Their main
reason for choosing a digital service rather than buying
a physical copy was for the immediacy it offers and the
flexibility to watch anywhere. Interestingly, these factors
were much more important to respondents than cost.
In the latest study we asked digital users how they view
the future and we found that most people are sceptical
about a totally digital future rather than actually being
reluctant to convert. 59% were unsure about a totally
32
Paid-for downloading
or streaming sites
55% are under 30, 57% male
15.4%
Pay-Per-View
(Sky and Virgin)
56% 35-49, 54% male
Youngest, most male More likely to be a family
25.6%
24.0%
Do you foresee a time when most or all
of your film or TV programme purchasing
will be digital streaming or downloading?
Yes but reluctant
about change
20%
Household take-up of key telecomms technologies (%)
No I don’t
59%
Yes & looking
forward to it
21%
Source: Kantar Worldpanel
100 91
90
93
93
92
92
80
60
40
90
60
90
60
41
90
64
52
88
67
58
87
70
68
65
85
73
71
65
20
31
0
12
15
2005 Q1 2006 Q1 2007 Q1 2008 Q1 2009 Q1 2010 Q1
Fixed telephony Mobile telephony Internet connection Total broadband Fixed broadband Mobile broadband
Source: Ofcom research Base: All adults aged 15+
digital future while 21% agreed this would be the way
ahead. These we describe as digital enthusiasts and
unsurprisingly they tended to be male, from higher
social groups, single and younger, under 35.
As web-enabled TVs are now being sold in the UK
(see page 100-102), the up-take of all online video
services is expected to attract more of a family
audience as people begin to connect to these
digital propositions and enjoy them in the same
way as they view other programming on TV.

© 2011 Warner Bros. Entertainment Inc. All rights reserved.

RETAIL Shipments – physical formats
60.0 66.0
73.8
78.8 80.0
98.4 96.1
123.1
137.5
1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010
Volume: VHS DVD UMD HD-DVD Blu-ray
The majority of data contained in this Yearbook is
based on retail sales as these ultimately are key to
tracking the performance of the video entertainment
market. Another area of interest is trade shipments, ie
those transactions between video companies/distributors
and retailers. This information is gathered directly from
BVA members and is then factored up, using Official
Charts Company (OCC) data, to reflect total shipments
in the market. The results of this analysis are covered
here and on page 35. Shipments data is only available
for physical product.
Using the methodology outlined above, the BVA
estimates that in 2010 242.0 million video units were
shipped into the retail trade. This was down 4.5% on
2009’s revised figure of 253.5 million. Retail sales
fell in 2010 and it was therefore anticipated that
trade shipments would need to fall to reflect this.
The rate of drop between the two measures does not
match as the sets of data are built very differently.
It is also worth noting that the discrepancy could
be linked to some UK trade shipments being sold
outside of the UK. What can happen is that when a
UK distributor ships stock to a UK customer some of
this product can be bought by consumers outside of
the UK, such as the Republic of Ireland. OCC then
34
Retail market shipments – volume (in millions)
179.3
214.5
260.8
220.7
245.2
270.3
252.0 253.5
242.0
Source: BVA/Official Charts Company
excludes these sales from its retail audit so we are
unable to report them in this Yearbook. We have no
data on the scale of this practice, however with the
weak Sterling exchange rate in 2009 and 2010 it is
thought this attracted many more non-UK sales
than normal.
The average revenue achieved from each title shipped
rose 6.8% to £5.68. This compares with Retail Price
Inflation, as quoted by the National Statistical Office,
of 4.8% for 2010. The rise in revenues came from a
shift in the balance of sales from DVD to Blu-ray but
also due to an increase in the DVD average trade
price itself and more specifically non-Film DVD. This
could be due in part to TV box-set activity as these
products tend to command higher average prices
due to the volume of content they include.
The total value of video trade shipments came to
an estimated £1.4 billion in 2010, up 2%. So while
the volume of shipments fell in 2010 the industry has
been able to extract more value by offering consumers
an enhanced viewing experience via Blu-ray (which
actually saw its shipments rise 51%) as well as
offering more content.

Shipments – physical formats RETAIL
Retail market shipments volume split by format
Year DVD Blu-ray UMD HD-DVD VHS
1999 5.8m 6.0%
90.3m 94.0%
2000 21.7m 17.6%
101.4m 82.4%
2001 44.4m 32.3%
93.1m 67.7%
2002 93.4m 52.1%
85.9m 47.9%
2003 151.2m 70.5%
63.4m 29.5%
2004 223.7m 85.8%
37.1m 14.2%
2005 209.4m 94.9%
0.8m 0.4%
10.5m 4.8%
2006 241.3m 98.4% 0.02m 0.0%
1.2m 0.5% 0.05m 0.0%
2.7m 1.1%
2007 267.1m 98.8%
1.3m 0.5%
0.8m 0.3%
0.5m 0.2%
0.58m 0.2%
2008 245.3m 97.3%
5.4m 2.2%
0.3m 0.1%
0.9m 0.4%
0.09m 0.0%
2009 243.1m 95.9% 10.0m 4.0%
0.2m 0.1%
0.0m 0.0%
0.15m 0.1%
2010 226.5m 93.6% 15.2m 6.3%
0.12m 0.1%
Retail market shipments value split by format
Year DVD Blu-ray UMD HD-DVD VHS
1999 £56m 10.6%
£472 89.4%
2000 £224m 27.9%
£579 72.1%
2001 £415m 45.5%
£497 54.5%
2002 £784m 64.6%
£430 35.4%
2003 £1,149m 81.7%
£257 18.3%
2004 £1,583m 93.3%
£113 6.7%
2005 £1,417m 98.3%
£8.4m 0.6%
£15 1.1%
2006 £1,445m 99.5% £0.2m 0.0% £5.8m 0.4% £0.6m 0.0%
£0.2 0.0%
2007 £1,460m 98.4% £15.7m 1.1%
£2.1m 0.1%
£5.9m 0.4%
2008 £1,341m 95.0% £67.1 m 4.8%
£1.1m 0.1%
£2.3m 0.2%
2009 £1,240m 91.8% £109m 8.1%
£1.1m 0.1%
£0.4m 0.0%
2010
£1,210m 87.8% £168m 12.2%
Reduced demand for DVD continued to be the key
factor in 2010’s falling shipments. Because digital
content cannot be recorded by volume at trade level,
shipment figures will not reflect the shift from physical
to digital content. In all, DVD saw the number of units
shipped decline by 6.8%, or 16.6 million, to 226.5
million units. This was less than the 24 million unit drop
in DVD retail sales, so by comparison the level of trade
shipments held up relatively well. As mentioned on
page 34, part of the discrepancy could be due to some
UK shipments being sold outside of the country due
to the weak Sterling exchange rate with the Euro. Any
non-UK sales are excluded from the retail figures so
this can hamper comparisons, although in absolute
terms the volume of these sales is likely to be relatively
modest. The average revenue achieved from each DVD
unit shipped was approximately £5.34, up £0.24 on
2009, an increase of 4.7%. This increase was actually
driven by non-Film activity as Film prices remained flat.
It is also just below the UK RPI annual inflation rate
of 4.8%. This brought the value of DVD shipments
to £1,210 million in 2010, down 2.4%.
The number of estimated Blu-ray Disc shipments
reached 15.2 million in 2010, up by 5.2 million or 51%.
Source: BVA/Official Charts Company
Note: figures rounded
This rate of growth is largely in line with the retail
increase of 55%. Blu-ray has seen its proportion
of trade deliveries rise from 4% in 2009 to 6% in
2010, reflecting its growing importance. The average
revenue achieved for each disc rose from £10.86 in
2009 to £11.10, an increase of 2.2%. This does not
mean that the average price rose but that higher
priced goods were shipped; for example the balance
of sales between new release and catalogue and
box-sets altered. Certainly, it is widely felt that the
average price of Blu-ray Discs on a like-for-like basis
would show deflation. With this in mind, the BVA
estimates that the total revenue from Blu-ray in
2010 was £168.5 million, up 55% or £60 million.
There was a small number of residual shipments from
the remaining formats (UMD, VHS and HD-DVD) as
video distributors continued to sell through their
stock. These generated no value for the industry
as distributors effectively refunded retailers for
returned product.
The possibility of providing digital trade revenues
in future is being explored by the BVA.
35

RETAIL Seasonality – physical formats
7.9%
7.8%
7.3%
7.9%
8.6%
9.4%
6.7%
6.5%
5.5%
5.5%
7.0%
6.7%
6.0% 6.2%
6.3%
6.6%
7.9%
7.8%
6.8%
6.8%
2006 24% 19% 19% 38%
2007
2008
2009
2010
24% 20% 20% 37%
24% 20% 20% 36%
23% 20% 20% 37%
25% 19% 21% 35%
Q1 Q2 Q3 Q4 (volume sales)
8.7%
9.0%
Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec
2010 Seasonality Average Seasonality 2006-2010 % of volume sales
The pattern of demand for physical discs is largely
constant from one year to the next. There can be
some minor variations created by tent-pole releases
but, as can be seen from the monthly breakdown
in the chart above, 2010 sales matches the general
trend. January represented 7.8% of unit sales, while
December continues to be the most important month
of the year accounting for 19.7% of total disc sales.
December 2010, however, saw a reduction in
importance due to the two bouts of heavy snow
which prevented consumers from visiting stores
and hampered online deliveries.
A quarterly breakdown is provided for the first time
and this does help to demonstrate some variation
in demand. This shows the importance of Christmas
gifting which makes quarter four the most significant
time of the year for video purchasing. However its
importance is declining; in 2006 it accounted for 38%
of all purchases but by 2010 this had dropped to 35%.
This is probably due to people buying titles for
themselves throughout the year, such is the popularity
of the DVD and Blu-ray Disc formats. This is supported
by consumer behaviour data from Kantar which shows
that the key motivation for buying product is for use
36
Retail seasonality by month
Seasonality by quarter
21.4%
19.7%
Source: Official Charts Company/BVA
by purchasers themselves, as opposed to the other
motivations – gifting and family usage, see page 78.
Seasonality on new formats tends to be very different
to the market overall. As hardware penetration builds
through a year inevitably so do software sales, resulting
in the latter months being far more important. This is
evident on Blu-ray which saw 23% of sales achieved
in December 2010 while quarter four demand for the
format was 40%. Conversely a declining format will
see the greatest volume of sales at the start of a year.
It should be noted that in the Official Charts Retail
Audit – the source of these figures – March, June,
September all contain five weeks. Looking at average
weekly sales rates eradicates this imbalance and
shows that the best month outside of December in
2010 was November. This is in contrast to 2009 when
January was the second most important month and
thereby reflects a return to the more normal pattern
of activity.
In terms of digital seasonality of demand this data is
not yet available and therefore the BVA is unable to
report on this area.

Regionality – physical formats RETAIL
Retail sales by region 2010
DVD Blu-ray
London
Midlands
South
Lancashire
Wales
East
Yorkshire
Scotland
North East
South West
Northern
Scotland
Northern
Ireland
Border
4.5%
4.3%
3.1%
3.0%
2.4%
2.4%
2.3%
2.5%
0.9%
0.9%
10.4%
10.3%
10.3%
10.3%
8.5%
8.4%
8.2%
8.1%
8.1%
8.1%
6.8%
6.9%
13.8%
13.6%
20.8%
21.2%
2010
2009
The Official Charts Company collects sales data on
all video formats, except digital, from UK retailers.
The way the data is collected means that it is possible
to break volume sales down by TV region and this is
shown in the tables above. London is by far the most
important region due to its huge population and the
fact that it benefits from both UK and foreign tourism.
In 2010 London accounted for 20.8% of all DVD unit
sales although this was down 0.4% on 2009. The bias
towards London is even more marked on new formats
as companies tend to launch and market their products
in the capital. In its fourth full year of availability in
the UK Blu-ray Disc saw London account for 22.8%
of sales, so more marked than for DVD, although
this was less than the 23.6% achieved in 2009.
London
Midlands
South
Lancashire
East
Yorkshire
Wales
Scotland
North East
South West
Northern
Scotland
Northern
Ireland
Border
4.6%
4.3%
2.7%
2.5%
2.2%
2.3%
1.7%
1.8%
0.9%
0.8%
8.5%
8.1%
8.0%
8.2%
7.4%
7.4%
6.0%
6.2%
14.1%
14.0%
11.0%
10.8%
10.0%
10.0%
22.8%
23.6%
2010
2009
(% volumes) Source: Official Charts Company/BVA
The more established a format the more regional
activity tends to be relatively constant, as seen
within the DVD market. There is very little variation
between 2009 and 2010.
Overall the pattern of activity is very similar between
DVD and Blu-ray, although some small variations
do exist. Wales and the East are marginally more
important to DVD than Blu-ray. The Midlands is the
second most important area of the country to both
formats while Northern Ireland and Border account
for the fewest sales.
It is not currently possible to provide a breakdown
of digital sales by TV region although it is hoped
statistics will be available in the near future.
37

RETAIL Releases – physical formats
Retail releases by genre:
DVD 2010 Blu-ray 2010
Total
7,135
Total
6,769
Film 37.2%
Sport & Fitness 8.6%
TV 12.6%
Music 15.8%
Special Interest 17.0%
Children’s 8.9%
Film 38.4%
Sport & Fitness 11.0%
TV 11.6%
Music 18.2%
Special Interest 13.7%
Children’s 7.0%
Information on the number of physical releases in
the video market is taken from West10 Entertainment,
a supplier of information-rich metadata on home
entertainment products. Its database of releases is
used by online retailers, wholesalers, retail outlets,
library systems and leading publications such as Empire
and DVD & Blu-ray Review. According to West10 there
were 7,135 titles released on retail DVD in 2010, 366
more than in 2009, a 5.4% increase. 2,651 of these
were Film titles which accounts for 37% of the total.
This is in stark contrast to the proportion of retail
sales where the genre represented almost double this,
accounting for 65% of volumes in 2010. This reflects
the popularity of Film content among UK consumers.
The second most important genre in terms of releases
in 2010 was Special Interest which accounted for 17.0%
of titles, up from 13.7% in 2009. This contrasts with its
level of retail sales where the genre accounted for just
2.8% of DVD volumes. Special Interest contains Live
Comedy product plus any titles not included within the
main five genres – Film, Children’s, Sport & Fitness, TV
and Music. Effectively it forms an ‘other’ type genre
and as such contains a large group of very varied
products and this means it has a disproportionate
number of releases to actual retail sales. The same is
true of the Music Video genre which accounted for
15.8% of DVD releases in 2010 compared to 1.9% of
retail volumes. The wide discrepancy within Music
Video has been decreasing as video companies are
being more selective about their output in the genre.
38
Total
947
DVD 2009 Blu-ray 2009
Total
825
Film 64.8%
Sport & Fitness 1.5%
TV 8.8%
Music 15.3%
Special Interest 4.4%
Children’s 5.2%
Film 68.7%
Sport & Fitness 0.7%
TV 5.6%
Music 16.1%
Special Interest 3.2%
Children’s 5.7%
Source: West10 Entertainment
Sport & Fitness is another genre which claims a
larger share of releases than retail sales. In 2010 it
accounted for 8.6% of releases compared with 1.5%
of DVD sales volumes.
TV was the fourth biggest genre in terms of the number
of releases it generated in the market. It accounted for
12.6% of DVD releases in 2010, up 1%. This is broadly
in line with retail sales where TV accounted for 14.6%
of volumes in the year. Children’s accounted for 8.9%
of DVD releases but 14.6% of sales volumes.
Due to its diversity, non-Film makes up the majority
of releases in the market, accounting for 63% of
releases in the year compared with 34% of retail
volume and 46% of value.
The make-up of Blu-ray releases is different to that
of DVD, with a stronger bias towards Film as this
tends to be the preferred genre of early adopters.
West10 recorded 947 Blu-ray Disc releases in 2010,
up on the 825 figure achieved in 2009. 614 of these
were Film titles representing 65% of all releases.
This brings the total number of titles ever released
on the format to 2,512 which compares with some
54,000 on DVD.
UMD, which has been coming to the end of its
product lifecycle, had just 6 titles released on the
format in the year, compared to 17 in 2009. The
total number of titles ever released on the format
is recorded as 286.

RETAIL Genres – physical formats
Shares by genre
Volume 2010 Value 2010
Film 65.5%
Sport & Fitness 1.5%
TV 14.1%
Children’s 14.4%
Special Interest 2.7%
Music 1.9%
Film 67.9%
Sport & Fitness 1.4%
TV 13.7%
Children’s 12.0%
Special Interest 2.9%
Music 2.0%
One of the main ways the video industry analyses
performance is to look at the market by genre and
this is the method the BVA has adopted to report
in this Yearbook. There are six key genres – Film,
Children’s, TV, Music, Sport & Fitness and Special
Interest, and each title which achieves a sale in the
UK is attributed one of these by the Official Charts
Company. With some 8,000 releases annually this
involves considerable work to research and attribute
the correct classification. There is currently no way
of breaking down digital sales by genre, hence the
focus of this section on physical discs. It is hoped that
digital sales will be incorporated in the near future.
Traditionally sales by genre have been reported by
volume but for the first time the BVA is able to also
provide value shares in this Yearbook. There are
some quite considerable differences between these
metrics due to the wide fluctuations in average
prices. The most marked difference is within TV,
which achieved a volume share of 14.1% in 2010
but almost double that in value at 26.1%. A feature
of the TV genre is the box-set, which enables video
distributors to offer consumers a number of options
for buying favourite TV shows. The tendency has
been to group together episodes of a TV series,
for example Downton Abbey: Series 1 which contains
seven episodes, on three discs, in one box-set. At
the other end of the spectrum, distributors have also
made available entire collections of TV series, such
as Friends 15th Anniversary Complete Collection which
40
Volume 2009 Value 2009
Film 53.9%
Sport & Fitness 1.7%
TV 26.1%
Children’s 12.6%
Special Interest 3.4%
Music 2.4%
Film 55.5%
Sport & Fitness 1.9%
TV 26.1%
Children’s 10.2%
Special Interest 3.8%
Music 2.6%
Source: Official Charts Company/BVA
contains 40 discs. With so much content included
within each unit sold, the TV genre commands higher
average prices which the value shares reflect. TV
itself saw volumes fall 5.9% in 2010, although this
was better than the physical market overall which
saw demand drop 8.3%. Sales by value on the
genre fell at a slower rate, down 3.3%.
Feature Film dominates the physical video market
and accounted for 65.5% of all volumes in 2010. This
figure continues to fall as the relative importance of
non-Film increases. In terms of value, Film represented
a smaller proportion of the market in the year, at
53.9%. There is considerable promotional activity
within the genre and catalogue titles make up by far
the majority of sales, so average prices in the genre
tend to be lower than the market overall. As Film
product is so important to the physical video market,
representing over 146 million sales in 2010, any
variations in performance tend to have an impact
on the overall market. Film saw volumes fall 11.6% in
2010, thereby driving much of the losses in disc sales
in the year. In terms of value the genre was less
affected, with retail sales down 6.3%.
More positively, demand for Children’s titles was very
buoyant in 2010 with volumes rising 10%. This helped
raise its share from 12.0% of all sales in 2009 to
14.4% and means it actually overtook TV to become
the second most important genre on a volume basis.
In value, however, it remained in third place behind

Genres – physical formats RETAIL
Genre shares
DVD volume 2010 DVD value 2010
Film 64.6%
Sport & Fitness 1.5%
TV 14.6%
Children’s 14.6%
Special Interest 2.8%
Music 1.9%
Blu-ray volume 2010 Blu-ray value 2010
Film 80.4%
Sport & Fitness 0.1%
TV 5.8%
Children’s 11.4%
Special Interest 0.4%
Music 1.9%
TV with a share of 12.6%. Children’s is made up
of three main components; animated films such
as Toy Story 3 and Shrek Forever After – The Final
Chapter, School Age product such as Scooby Doo and
Pre-School which includes characters and brands like
Peppa Pig and In The Night Garden. 2010 saw the value
of retail sales on Children’s titles rise 18.9%, helping
to negate some of the losses seen in other genres.
Special Interest is the fourth most important genre
to the market, accounting for 2.7% of all volumes
in 2010 and 3.4% of all value. It is made up of two
main types of product – Live Comedy and any other
remaining titles not classified elsewhere, effectively
becoming an ‘Other’ category. The genre proved
very buoyant in 2009 with strong demand for
Michael McIntyre’s Hello Wembley, which helped
Special Interest achieve record sales that year.
This level of demand could not be maintained
in 2010 and volumes in the genre therefore fell
15.9%, while value was down 15.3%.
Music Video is the fifth best-selling genre in the UK,
accounting for 1.9% of volumes in 2010 and 2.4%
of value. It too had a very good year in 2009 when
it saw volumes rise 14%, boosted by the surge in
demand for Michael Jackson videos following the
star’s untimely death. In all 5 million units were sold
in the genre in 2009, which could not be maintained
and volumes thus fell 16.1% in 2010. The value of
Music Video business fell at a slower rate, down 10.8%.
Film 51.4%
Sport & Fitness 1.9%
TV 28.0%
Children’s 12.6%
Special Interest 3.7%
Music 2.4%
Film 75.7%
Sport & Fitness 0.1%
TV 9.8%
Children’s 12.0%
Special Interest 0.5%
Music 1.9%
Source: Official Charts Company/BVA
Sport & Fitness represents the smallest genre in the
market, accounting for 1.5% of volumes in 2010 and
1.7% of value. It too saw demand fall in 2010, with
volumes down 2.9%, but this masks the success seen
specifically within Fitness, which produced growth of
15.9% in the year. However, losses within the Sports
genre resulted in the combined genre seeing value
fall 12.2% in 2010.
Included in the charts above is a genre breakdown
for DVD and Blu-ray. The key difference between
them is that Film is much more important to Blu-ray
than DVD, due in part to the weight of titles in this
genre released on Blu-ray compared with DVD. Film
accounted for 65% of Blu-ray releases in 2010, versus
37% of DVD releases. This bias is typical of newer
formats as video companies publish product they feel
appeals most to early adopters, who are more likely
to be younger and male. As a result the titles that do
best on newer formats tend to reflect that audience.
In 2010, however, we did see non-Film product make
more in-roads on Blu-ray, accounting for 20% of
volumes sold compared with 13% in 2009. In terms
of value non-Film was more important, accounting
for 24% of Blu-ray business in 2010, up from 17%.
The six genres are examined in more detail later in
this Yearbook.
41

RETAIL Retailer shares – physical formats
Retailer market shares – 2010
Store Video DVD Blu-ray Video DVD Blu-ray
Numbers* Value Value Value Volume Volume Volume
GROCERS 37.2 38.7 29.3 41.4 42.7 28.2
Tesco 877 14.6 15.0 12.3 15.4 15.7 12.1
Asda 385 12.7 13.3 9.6 14.5 15.1 9.1
Sainsbury’s 557 5.7 6.1 3.7 6.6 6.9 3.5
Morrisons 436 4.0 4.1 3.6 4.6 4.7 3.5
Other Grocers – 0.2 0.2 0.0 0.3 0.4 0.0
INTERNET 33.9 32.9 39.4 29.9 28.7 41.5
Amazon n/a 16.3 16.3 16.1 13.7 13.5 16.2
Play.com n/a 5.5 5.1 7.8 5.2 4.9 8.1
HMV Online n/a 4.0 3.8 5.2 3.6 3.4 5.2
Tesco Online n/a 1 .1 1.0 1.7 0.8 0.7 1.7
Asda Online n/a 0.5 0.5 0.4 0.4 0.4 0.4
Sainsbury’s Online n/a 0.1 0.1 0.1 0.1 0.1 0.1
Morrisons Online n/a 0.0 0.0 0.0 0.0 0.0 0.0
Other Internet n/a 6.4 6.1 8.1 6.1 5.7 9.8
MUSIC/VIDEO SPECIALIST 22.2 22.2 22.1 19.3 19.4 19.1
HMV 287 21.1 21.0 21.3 17.7 17.6 18.1
Other Music/Video Specialist – 1 .1 1.2 0.8 1.7 1.7 0.9
GENERALIST 3.9 3.7 4.9 4.8 4.7 5.7
WH Smith 525 0.7 0.8 0.3 0.7 0.7 0.3
Blockbuster 601 1.3 0.9 3.3 1.5 1.3 3.7
Other Generalists – 1.9 2.0 1.4 2.6 2.7 1.7
MAIL ORDER 0.6 0.6 0.2 0.4 0.4 0.2
OTHER 2.3 1.9 4.1 4.2 4.1 5.3
Tesco has an additional 1,219 Tesco Express stores and Sainsbury’s has an additional 380 Local stores, both of which sell video on an ad hoc basis.
Source: Kantar Worldpanel. * Millward Brown chart returning stores – figures quoted are those recorded at year end.
Supermarkets remained the most important group of
retailers to the sale of physical video formats in 2010,
with their store-based sales accounting for 37.2% of
all value and 41.4% of all volume. Not only are they
the biggest players but they continue to grow their
market-share, with value up 2.7% and volume up 2.0%
on 2009. These figures exclude sales made through
their websites which are listed under Internet in the
table above. Adding these to their store sales would
see them claim a total of 42.7% of all videos sold
and 38.9% of value. Such has been the growth in
supermarkets the BVA has carried out some consumer
research in this area which is covered on page 44.
According to Kantar, Tesco has overtaken Asda to
become the biggest player in the grocery sector,
accounting for 14.6% of all value and 15.4% of all
volumes sold. It effectively has more than double
the store base of Asda and also benefits from sales
through its Tesco Express chain. We believe this set
of stores began to stock campaign titles such as
major film releases or Tesco exclusives in 2010,
which has contributed to its strong performance.
Interestingly, however, the grocer that produced the
most share gain (in volume) was Sainsbury’s, whose
proportion of the market rose from 4.9% to 6.6%,
an increase of 1.7%. Sainsbury’s was a late entrant to
42
the video category which has resulted in it achieving
a much lower proportion of sales than the more
established Asda and Tesco. Its 2010 share growth,
however, indicates it is making greater inroads into
the category.
The internet remains the second most important
channel in the market, accounting for a third of
business. It continued to go from strength to strength
in 2010 with its value share rising 0.8% to 33.9% and
volume up 1.4% to 29.9%. The biggest player in this
part of the market is Amazon and its value market
share is three times that of its nearest rival in the
sector, Play.com. In spite of its strong position, Amazon
saw its proportion of the market increase more than
any other retailer in the year, with its value share up
2.1%, to 16.3% and its volume up 2.4%, to 13.7%.
As the internet is such an important part of the retail
landscape the BVA carried out research in 2010 on the
use of price comparison websites which have sprung
up in recent years. Might these be boosting online
demand? We found that 60% of respondents claim
to use these websites and 25% claim to use them
for DVD and Blu-ray Discs. The study found that the
majority of shoppers browse online first and almost
half of them claim to then buy online. This provides
evidence that these sites can and do generate
additional business for online retailers.

Retailer shares – physical formats
Retailer market shares – 2009
Store Video DVD Blu-ray Video DVD Blu-ray
Numbers* Value Value Value Volume Volume Volume
GROCERS 34.5 35.3 25.3 39.4 40.1 24.2
Tesco 827 12.9 13.1 9.9 14.1 14.3 9.2
Asda 371 13.4 13.6 11.1 15.1 15.3 11.0
Sainsbury’s 547 4.4 4.5 3.1 4.9 5.0 2.7
Morrisons 417 3.5 3.7 1.2 4.6 4.8 1.2
Other Grocers – 0.3 0.4 0.0 0.6 0.6 0.0
INTERNET 33.1 32.3 41.6 28.5 27.9 42.7
Amazon n/a 14.2 13.9 18.1 11.3 11.0 18.6
Play.com n/a 5.9 5.6 9.7 5.3 5.1 9.5
HMV Online n/a 4.7 4.6 5.8 4.5 4.4 6.0
Tesco Online n/a 0.9 0.9 1.3 0.6 0.6 1.2
Asda Online n/a 0.5 0.6 0.1 0.5 0.5 0.1
Sainsbury’s Online n/a 0.0 0.0 0.0 0.0 0.0 0.0
Morrisons Online n/a 0.0 0.0 0.0 0.0 0.0 0.0
Other Internet n/a 6.7 6.7 6.5 6.2 6.2 7.2
MUSIC/VIDEO SPECIALIST 24.3 24.5 22.3 21.6 21.7 20.3
HMV 273 21.4 21.5 19.5 18.4 18.5 16.6
Other Music/Video Specialist – 2.9 2.9 2.8 3.3 3.3 3.6
GENERALIST 5.4 5.2 7.6 6.3 6.2 8.3
WH Smith 464 1.2 1.3 0.4 1.0 1 .1 0.4
Blockbuster 631 1.3 1.0 5.7 1.3 1.2 5.9
Other Generalists – 2.9 3.0 1.5 3.9 4.0 1.9
MAIL ORDER 1 .1 1 .1 0.1 0.6 0.6 0.1
OTHER 1.7 1.6 3.1 3.6 3.5 4.5
Source: Kantar Worldpanel. Please note the market shares quoted for 2009 are different to those reported in the 2010 Yearbook.
This is due to a methodology change by Kantar Worldpanel. *Millward Brown chart returning stores – figures quoted are those recorded at year end.
Despite the growing importance of both the grocers
and the internet to the sale of physical discs, HMV
remains by far the most important single player within
the market, accounting for a combined value share of
25.1% (down 1.0%) and 21.3% of volume (down 1.6%).
Although its share did fall in 2010, HMV has done
well to maintain its position in this highly competitive
market. In terms of its overall performance within the
entertainment market, it reported a disappointing
Christmas with demand affected by the adverse
weather, particularly two bouts of heavy snow. While
it remains in profit, it announced in January 2011 that
it planned to close 60 stores to achieve £10 million in
savings and further plans are expected to be announced
shortly. So it appears that it is likely to be a challenging
year for the retailer.
Focussing on Blu-ray, HMV is also the most important
retailer of the format, accounting for a total of 26.5%
of all retail sales (up 1.2%) and 23.3% of volume (up
0.7%) which really reflects its overall strength within
the video category. Interestingly, the grocers have not
yet been able to dominate sales on the format as they
do for DVD. Instead the internet remains the most
important source of product, accounting for 39.4%
of all Blu-ray value and 41.5% of volumes.
The loss of Woolworths at the beginning of 2009 had a
profound impact on the Generalist sector which once
dominated the market. This group’s key retailers are
now WH Smith and Blockbuster. While Blockbuster was
able to maintain its value share at 1.3% in 2010 and
grow its volume share (from 1.3% to 1.5%), WH Smith
continues to experience share losses. Its role on the
high street remains threatened by supermarkets and
the internet and in January 2011 it announced plans to
withdraw from entertainment retailing. While any loss
of availability is a blow to the industry, now that WH
Smith’s share of business is so small its impact is not
expected to be great.
It is not currently possible to provide market shares
for digital content as there is no source for this
information. The BVA is working with research
companies to establish an audit of these sales
and is hopeful of providing figures in the future.
43

RETAIL The growth of supermarkets
The loss of Woolworths and Zavvi at the end of 2008
threatened to reduce permanently the availability of
video content available on the high street. Reassuringly,
the loss of such big-name retailers and some 900 stores
has not significantly dented demand as most consumers
have sought their product from alternative sources. One
of the main beneficiaries has been the supermarkets,
who have seen their value share rise from 25% in 2008
to 37% in 2010. In light of this shift the BVA wanted to
understand more about the growth of supermarkets
within the video business. A number of questions on
retailing were added to the Association’s annual
consumer research study carried out by Kantar
Worldpanel and some of the findings of this are
outlined below.
What the results have shown is that consumers have
begun to see supermarkets as a destination for DVD
and Blu-ray Disc. They are increasingly planning their
purchases in these outlets. 28% of buyers claim to
specifically buy video in supermarkets even if they
do not buy anything else, which translates to an
audience of 9.1 million people. This is partly due to
the aggressive pricing strategies supermarkets have
adopted, heavily discounting blockbuster titles.
Consumers seem very aware of prices, with 70% of
44
I often go to the supermarket specifically
to buy a DVD or Blu-ray Disc, even if I
wasn’t doing my other shopping there
48% disagree
25% strongly disagree
3% strongly agree
24% agree
I like to go to stores where I can buy
everything I need at one time
74.7%
78.8% 78.7% 76.9%
72.8%
All individuals Asda Tesco Morrisons Sainsbury’s
Percentage of video buyers who agree, that do their main grocery shopping in...
How much do you agree/disagree with
the following statements?
8%
62%
23%
7%
Supermarkets
offer best prices
Strongly agree
70.1%
Supermarkets
offer
best prices
4%
32%
51%
13%
Supermarkets
have a good range
4%
24%
47%
26%
Buy specifically
supermarket
5%
37%
40%
18%
Enjoy browsing
in supermarkets
Agree Disagree Strongly disagree
42.0%
Enjoy browsing
for DVDs/BDs
in supermarkets
35.6%
Range of BDs/DVDs
in supermarkets as
good as in specialists
Source: Kantar Worldpanel
respondents agreeing or strongly agreeing with the
statement, “supermarkets offer the best prices”. The
aim of these great deals is to attract people into stores
where grocers hope to then persuade them to do the
rest of their weekly shop. The average grocery basket
size is £25, according to Kantar, so there is a lot of
income to be gained from each shopper attracted
by a good offer on a video title.
While grocers’ prices are attractive to consumers, the
research has shown that their ranges are not viewed
as being strong, with only 36% of respondents agreeing
with the statement, “supermarkets offer good ranges”
and 42% suggesting that they enjoy browsing for video
in these outlets. This represents a real opportunity
for grocers to expand their video offer and improve
the consumer experience and, of course, generate
additional sales.
With so much pressure on people’s time, supermarkets
ultimately offer consumers real convenience. 79% of
Asda and Tesco shoppers indicated that they like to go
to stores where they can buy everything they need at
one time. This huge appetite for a one-stop-shop for
everyday needs is an interesting characteristic of
modern retailing and it will be useful to watch how
this affects the video market in future.

RETAIL Company shares – physical formats
Company shares – total video 2010
Volume Value
Universal Pictures
Warner
20th Century Fox
Walt Disney
Paramount
Sony Pictures
2entertain
Elevation Sales
Entertainment One
EV
Momentum Pictures
Icon
Channel 4 DVD
ITV Studios
Revolver
Anchor Bay
HiT Entertainment
Metrodome
FremantleMedia
Boulevard
1.7%
1.5%
1.3%
0.8%
0.8%
0.7%
0.6%
0.6%
0.4%
2.7%
4.0%
3.5%
5.8%
5.1%
8.6%
8.4%
9.7%
13.1%
12.8%
12.4%
A new addition to the 2010 Yearbook is the inclusion
of value-based data to add to the volume figures
historically provided. This helps to enhance the
understanding of the market as there can be quite
marked variations between these metrics. Conveniently,
this is exemplified in the 2010 company shares.
Universal Pictures climbed one place to become the
best-selling video company in 2010, claiming 13.1% of
all units sold. In terms of value, however, Warner Home
Video was the best performing company, claiming 13.4%
of all retail sales. This variation exists due to the higher
average retail price achieved by Warner at £9.78
compared with £8.40 for Universal Pictures. This does
not indicate that Warner has higher video prices; rather
the variation is caused by the balance of Blu-ray to
DVD sales by each studio, as well as the importance of
catalogue to new releases and the selling prices of each.
Boulevard is an example of a distributor with high sales
volumes achieved through very low prices. It claimed
0.4% of all units sold and features in the Top 20 volume
listing above, but does not have a presence in the
value equivalent. It was, in fact, the 39th best-selling
company in value with a share of 0.1%, hence the
importance of adding this new data to the Yearbook.
Although Universal Pictures only claimed two titles
in the Top 20 volume chart (page 48) it was the bestselling
company across both new release titles and
46
Warner
20th Century Fox
Universal Pictures
Walt Disney
2entertain
Paramount
Sony Pictures
Elevation Sales
Entertainment One
EV
Momentum Pictures
Channel 4 DVD
ITV Studios
Icon
FremantleMedia
Anchor Bay
Revolver
Acorn Media
Metrodome
HiT Entertainment
1.3%
1.0%
0.8%
0.6%
0.6%
0.5%
0.4%
3.1%
2.6%
2.1%
1.9%
4.8%
4.4%
6.6%
8.0%
7.5%
10.5%
12.4%
11.8%
13.4%
Source: Official Charts Company/BVA
catalogue for the year. Its best-selling titles were
Nanny McPhee & The Big Bang, the latest Robin Hood
movie starring Russell Crowe and Inglourious Basterds.
In terms of value, 20th Century Fox was the most
successful on new release and Warner on catalogue.
Despite claiming the best-selling title of the year with
Avatar, the 2009 market leader (in both volume and
value), 20th Century Fox, had to settle for third place in
volume in 2010 with a share of 12.4%, narrowly behind
Warner Home Video’s 12.8%. Competition was fierce, with
just 0.7% volume share dividing the Top 3 companies.
Warner’s strong performance on Blu-ray gave it the edge,
benefitting from 17.1% of all volumes sold, which made
it the market leader on the format. It also claimed six
of the Top 20 best-selling titles of the year, more than
any other company (see page 48). These were Inception,
Sherlock Holmes, The Hangover, Clash of the Titans (2010),
Sex and the City 2 and Harry Potter And The Half Blood
Prince, a 2009 title which received a boost in sales
following the release of the seventh film from the
franchise in cinemas, Harry Potter And The Deathly Hallows.
2entertain achieved the largest share differential
between company value and volume listings. Its
value share was 2.2% higher than volume, driven
by its strength on TV product which commands
higher average retail prices than other genres.

Company shares – physical formats RETAIL
Company shares 2010
DVD Volume Blu-ray Volume
Universal Pictures
Warner
20th Century Fox
Walt Disney
Paramount
Sony Pictures
2entertain
Elevation Sales
Entertainment One
EV
DVD Value Blu-ray Value
Warner
20th Century Fox
Universal Pictures
Walt Disney
2entertain
Paramount
Sony Pictures
Entertainment One
Elevation Sales
EV
4.1%
3.4%
2.9%
4.9%
4.6%
4.5%
6.1%
6.4%
7.5%
9.4%
8.7%
8.3%
8.6%
10.1%
13.4%
12.6%
12.4%
12.2%
12.0%
12.9%
In all, the Top 6 distributors claimed 65.0% of total
volumes sold in 2010, down 4.5%. The company which
achieved the greatest share gain was Entertainment
One, formerly E1 Entertainment, whose share climbed
2.0% to claim 4.0% of volumes. It benefitted from
the hugely popular Twilight Saga releases – New Moon
and Eclipse.
The industry has gone through some structural changes
in recent years with movements in distribution rights,
mergers/acquisitions and company closures. 2009 and
2010 have seen more stability, with no major changes
to report. The only activity to mention is one of name
changes. In 2009 ITV DVD changed its name to ITV
Studios and in 2010 E1 Entertainment was renamed
Entertainment One, while Starz has returned to the
name of Anchor Bay. These changes are important
to bear in mind when referring to historic Yearbooks.
DVD accounted for 94% of total physical video
volumes in 2010 and with this the pattern of company
performance is very similar to the overall market.
In terms of value, DVD represented a slightly smaller
proportion of the market – 90% in 2010 – and here
there is a slight variation to the value-based
company shares. Entertainment One is a place
higher with a share of 4.6% over Elevations Sales.
Warner
Walt Disney
20th Century Fox
Universal Pictures
Sony Pictures
Elevation Sales
Paramount
EV
Entertainment One
Momentum
Warner
Walt Disney
20th Century Fox
Universal Pictures
Sony Pictures
Paramount
Elevation Sales
EV
Entertainment One
2entertain
3.2%
3.0%
3.1%
2.9%
5.0%
4.7%
7.5%
9.7%
9.2%
8.7%
8.2%
7.7%
7.1%
9.8%
13.8%
13.0%
14.8%
14.6%
Source: Official Charts Company/BVA
Just as in the overall market, Universal Pictures was
the best-selling DVD company by volume in 2010 while
Warner Home Video claimed this accolade in value.
Warner Home Video also remained the best-selling
Blu-ray Disc (BD) distributor for a third consecutive
year on both a volume and value basis. It claimed
17.1% of all discs sold in 2010 and 18.1% of retail sales.
This is an improvement on its 2009 performance,
when it achieved 16.7% of BD volumes and 16.9%
of value. It maintained pole position thanks to its
wide range of product rather than any individual
performances. Its best-selling BD titles were Inception,
Sherlock Holmes and Clash Of The Titans (2010). Walt
Disney Studios overtook 20th Century Fox to become
the second largest Blu-ray distributor, albeit by a
narrow margin of just 0.8% in volume and 0.2% in
value. It benefitted from the release of Pixar’s Toy
Story 3 and Up, the Disney classic Beauty and the
Beast and Tim Burton’s Alice In Wonderland.
Universal Pictures, the number one video company
by volume in the physical market in 2010, had to
settle for fourth place on Blu-ray. Its best-selling
BD titles were Robin Hood, Kick-Ass and Green Zone.
It is hoped to be able to provide a company
share breakdown including digital downloads
in the near future.
17.1%
18.1%
47

RETAIL Overall video chart – physical formats
2010 video top 20 – all genres
Volume
The best-selling video title of 2010 was the Oscar ®
winning film Avatar, from 20th Century Fox. The last
time Fox claimed the best-selling title was back in
1998 with Titanic. Avatar, released in April 2010, had
over eight months to accrue sales contributing to it
breaking the 3.0 million unit barrier. This is in stark
contrast to the 2009 top selling title Harry Potter And
The Half Blood Prince, which had just four weeks on
sale in that year, achieving 2.3 million sales. It makes
a second appearance in this chart following a surge
in demand following the theatrical release of the
seventh Harry Potter Film - The Deathly Hallows.
The hugely popular Toy Story returned in 2010 after
a 10 year absence with the third installment from the
Pixar animation house. Interest in Woody, Buzz Lightyear
and Mr. Potato Head certainly did not wane in the time,
with Toy Story 3 selling over 2.3 million units in just six
weeks on sale. In 2009 this level of demand would
have been sufficient for it to top the video chart. Only
two other Children’s titles made the Top 20 in 2010 –
Up and Shrek Forever After – The Final Chapter.
The Twilight phenomenon continued in 2010 with all
three titles from the series having a presence in the
Top 25 chart (by volume) selling almost 4 million units
combined in 2010. The second and third releases from
the Stephanie Meyer saga took third and fourth place
48
Position Title Company
1 Avatar 20th Century Fox
2 Toy Story 3 Walt Disney
3 The Twilight Saga – New Moon Entertainment One
4 The Twilight Saga – Eclipse Entertainment One
5 Inception Warner
6 2012 Sony Pictures
7 The Hurt Locker Elevation Sales/Lionsgate
8 Up Walt Disney
9 Sherlock Holmes Warner
10 Harry Potter And The Half Blood Prince Warner
1 1 The Hangover Warner
12 Shrek Forever After – The Final Chapter Paramount
13 Alice In Wonderland Walt Disney
14 Nanny Mcphee & The Big Bang Universal Pictures
15 Iron Man 2 Paramount
16 Alvin & The Chipmunks – The Squeakquel 20th Century Fox
1 7 District 9 Sony Pictures
18 Clash Of The Titans (2010) Warner
19 Sex And The City 2 Warner
20 Robin Hood Universal Pictures
Source: Official Charts Company/BVA
in the video chart. The Twilight Saga – New Moon was a
March release and as such had over nine months to
accrue sales, selling 1.9 million units. The Twilight Saga
– Eclipse meanwhile was available for just four weeks,
achieving 1.4 million sales. Other returning brands,
franchises and characters this year are Nanny McPhee,
Iron Man, Alvin And The Chipmunks, Shrek, the Sex
And The City girls, Clash Of The Titans and Robin Hood.
Such is the interest among consumers to keep in
touch with brands and characters, over half of the
Top 10 this year is made up of such titles.
The 2010 winner of Best Film at both the Oscars ® and
BAFTAs was The Hurt Locker and this also proved very
popular on video, selling over 1.2 million copies. The
importance of awards as a driver of demand is clearly
evident with The Hurt Locker, which received a very
significant boost to sales following each win. In fact its
biggest-selling week was when it won best film at the
2010 Oscar ® ceremony (10 weeks after first release).
Another factor to the success of titles is their presence
at the cinema and 2010 has seen every title in the
Top 20 video chart have a theatrical release.
All of the titles listed above sold 700,000 units or
more during 2010, with each of the top 11 selling
over a million units.

GLOBAL PUBLISHERS OF GREAT BRITISH ENTERTAINMENT -
ON DVD AND DIGITAL

RETAIL Overall video chart – physical formats
2010 video top 20 – all genres
Value
A new addition to this Yearbook is the inclusion of
value based information. This means the BVA is able to
provide a list of best-selling titles based on the value
of retail sales, as well as the most popular based on
the number of units sold (as shown on page 48).
As well as topping the volume chart, Avatar was the
best-selling title by value in 2010, achieving over £40
million worth of retail sales across DVD and Blu-ray
Disc. Toy Story 3 was the second most popular title
with sales of £30 million, mirroring its success in
volume. In fact the Top 20 is very similar to the
volume chart on page 48, with 18 titles common to
both. There is some variation in the order between
the two charts, with The Hurt Locker seven places
higher in volume, Nanny McPhee and Alvin & The
Chipmunks: The Squeakquel both three places higher,
while 2012 and Alice In Wonderland are up two places
and Sherlock Holmes is up one.
50
Position Title Company
1 Avatar 20th Century Fox
2 Toy Story 3 Walt Disney
3 The Twilight Saga – New Moon Entertainment One
4 The Twilight Saga – Eclipse Entertainment One
5 Inception Warner
6 Up Walt Disney
7 The Pacific Warner
8 Harry Potter And The Half Blood Prince Warner
9 2012 Sony Pictures
10 Sherlock Holmes Warner
11 The Inbetweeners – Series 3 Channel 4 DVD
12 Shrek Forever After – The Final Chapter Paramount
13 Iron Man 2 Paramount
14 The Hurt Locker Elevation Sales/Lionsgate
15 Alice In Wonderland Walt Disney
16 Sex And The City 2 Warner
17 Nanny Mcphee & The Big Bang Universal Pictures
18 Clash Of The Titans (2010) Warner
19 Robin Hood Universal Pictures
20 Alvin & The Chipmunks – The Squeakquel 20th Century Fox
Source: Official Charts Company/BVA
The Inbetweeners – Series 3 and The Pacific are the only
two titles to feature in the value Top 20 which do not
appear in the volume equivalent. These are both TV
releases which benefitted hugely from the box-set
format. They each included the entire collection of
episodes from both series. The Inbetweeners was part
of a five-disc box-set containing almost seven hours
of material, including Series 1 & 2 from the popular
Channel 4 show. Similarly The Pacific is a six-disc boxset
which includes the entire HBO series and over 10
hours of material. This resulted in above average
selling prices for these titles, hence their much higher
standings in the value chart compared to volume,
where they were 28th and 32nd respectively.
All the titles in the value Top 20 chart sold over £9
million in physical retail sales in 2010, with 15 titles
breaking the £10 million barrier and three of these
the £20 million level.

DVD chart RETAIL
2010 DVD top 20 – all genres
Volume
Pos Title Company
1 Avatar 20th Century Fox
2 Toy Story 3 Walt Disney
3 The Twilight Saga
– New Moon
Entertainment One
4 The Twilight Saga – Eclipse Entertainment One
5 2012 Sony Pictures
6 The Hurt Locker Elevation Sales/Lionsgate
7 Sherlock Holmes Warner
8 Up Walt Disney
9 Harry Potter And
The Half Blood Prince
Warner
10 The Hangover Warner
11 Inception Warner
12 Shrek Forever After –
The Final Chapter
Paramount
13 Nanny Mcphee
& The Big Bang
Universal Pictures
14 Alvin & The Chipmunks
– The Squeakquel
20th Century Fox
15 Alice In Wonderland Walt Disney
16 Sex And The City 2 Warner
17 District 9 Sony Pictures
18 The Time Traveler’s Wife EV
19 Inglourious Basterds Universal Pictures
20 Iron Man 2 Paramount
DVD is the consumer’s preferred format by far for
watching video, and in particular DVDs bought to
own. Looking at the total retail video market DVD
accounted for 89% of all video volumes in the UK
in 2010. This figure rises to 94% when looking
specifically at physical retail purchases, such is its
popularity. A list of the best-selling DVD titles on the
format is provided above by both volume and value.
Inevitably, there is significant similarity between
these charts and those of the overall market shown
on pages 48 and 50. Avatar was the best-selling DVD
of 2010, selling 2.25 million copies, followed closely
by Toy Story 3 with 2.0 million sales. The volume of
sales between these two titles is, however, much
closer on DVD than was seen in the total disc market.
This is due to the family nature of Toy Story 3, which
saw 87% of its volume sold on DVD compared to
75% for Avatar. Avatar is a Sci-Fi title and as such
proved very popular to Blu-ray purchasers, with the
format accounting for 25% of Avatar’s disc sales.
Both titles also topped the value based DVD chart,
with Avatar achieving over £26 million in retail sales
and Toy Story 3 £25 million. There is much similarity
between the volume and value charts, with 16 titles
common to both. A feature of the value based chart,
however, is that it contains a significantly higher
number of non-Film titles – in fact seven in 2010.
Value
Pos Title Company
1 Avatar 20th Century Fox
2 Toy Story 3 Walt Disney
3 The Twilight Saga
– New Moon
Entertainment One
4 The Twilight Saga – Eclipse Entertainment One
5 The Inbetweeners – Series 3 Channel 4 DVD
6 Up Walt Disney
7 Shrek Forever After
– The Final Chapter
Paramount
8 Harry Potter And
The Half Blood Prince
Warner
9 The Pacific Warner
10 Inception Warner
11 2012 Sony Pictures
12 Sherlock Holmes Warner
13 The Hurt Locker Elevation Sales/Lionsgate
14 Sex And The City 2 Warner
15 Alvin & The Chipmunks
– The Squeakquel
20th Century Fox
16 Nanny Mcphee &
The Big Bang
Universal Pictures
17 Alice In Wonderland Walt Disney
18 Gavin & Stacey – Series 3 2entertain
19 Iron Man 2 Paramount
20 John Bishop Live – The Elvis
Has Left The Building Tour
2entertain
Source: Official Charts Company/BVA
This compares with three in the volume Top 20. The
TV title The Inbetweeners Series 3 was the fifth best
performing title in value yet 23rd in volume. It was
helped by a substantial proportion of box-set sales,
which included the first two series from the hit show
and consequently the product commanded an above
average price. In a similar vein Gavin & Stacey – Series
3 also benefitted from box-set activity. The TV title
The Pacfic and the Live Comedy release John Bishop
Live - The Elvis Has Left The Building Tour feature in
the value chart on the basis of achieving higher
average prices. Both were released in the Autumn
of 2010 ready for the busy Christmas gifting market.
Just two titles feature in the DVD volume chart that
do not appear in the total physical chart (on page 48);
Inglourious Basterds and The Time Traveler’s Wife. Both
achieved over 90% of their sales volumes on DVD.
With the growing penetration of Blu-ray ownership,
the later in the year a title is released, the greater
the pool of consumers with access to the technology.
As these titles were released in December 2009 and
February 2010 respectively, DVD was more important
to them than titles released later in 2010. Hence their
presence in the DVD chart but not the Blu-ray Top 20
on page 52.
51

RETAIL Blu-ray chart
2010 Blu-ray top 20 – all genres
Volume
Blu-ray accounted for 5.5% of all volume video sales
in 2010 and 5.8% of total physical unit sales. The bestselling
Blu-ray was the Sci-Fi epic Avatar, mirroring the
success it had on DVD. In total it sold over 750,000
copies on the high definition format resulting in retail
sales of some £14 million. Such was the popularity of
Avatar it has become the best-performing Blu-ray title of
all time, overtaking the previous leader The Dark Knight.
The Blu-ray format has had four full years on sale in
the UK and consequently there is growing similarity
between its list of best-selling titles and those for
DVD. 12 titles are common to both, up from eight in
2009. This reflects the increasing library of Blu-ray
titles as virtually all key new releases are now made
available on the format.
Inception was the second best-selling Blu-ray Disc of
2010, having sold over 380,000 copies worth some
£6 million. It achieved 29% of its total volumes on
Blu-ray compared to 25% for Avatar, so achieved
a considerably higher position in the Blu-ray Top 20
than on DVD, where it was placed 11th. Beauty & The
Beast made its debut on Blu-ray in 2010 and such was
the demand that it achieved 62% of its total volumes
on the format, with sales of over 240.000. Iron Man 2
also produced a particularly strong performance on
Blu-ray, achieving 29% of its total on the format with
sales of 250,000 units, worth over £4 million.
52
Pos Title Company
1 Avatar 20th Century Fox
2 Inception Warner
3 Toy Story 3 Walt Disney
4 Iron Man 2 Paramount
5 Beauty & The Beast Walt Disney
6 2012 Sony Pictures
7 The Hurt Locker Elevation Sales/Lionsgate
8 Up Walt Disney
9 Alice In Wonderland Walt Disney
10 Sherlock Holmes Warner
11 Clash Of The Titans (2010) Warner
12 Harry Potter And The
Half Blood Prince
Warner
13 The Expendables Elevation Sales/Lionsgate
14 The Twilight Saga – Eclipse Entertainment One
15 Robin Hood Universal Pictures
16 District 9 Sony Pictures
17 The Pacific Warner
18 The Twilight Saga
– New Moon
Entertainment One
19 Kick-Ass Universal Pictures
20 The A-Team 20th Century Fox
Value
Pos Title Company
1 Avatar 20th Century Fox
2 Inception Warner
3 Toy Story 3 Walt Disney
4 Beauty & The Beast Walt Disney
5 Iron Man 2 Paramount
6 The Pacific Warner
7 2012 Sony Pictures
8 Up Walt Disney
9 Harry Potter And The
Half Blood Prince
Warner
10 The Lord Of The Rings:
The Return Of The King
EV
11 Alice In Wonderland Walt Disney
12 Sherlock Holmes Warner
13 The Hurt Locker Elevation Sales/Lionsgate
14 Clash Of The Titans (2010) Warner
15 The Expendables Elevation Sales/Lionsgate
16 The Twilight Saga – Eclipse Entertainment One
17 Band Of Brothers Warner
18 Robin Hood Universal Pictures
19 The A-Team 20th Century Fox
20 Kick-Ass Universal Pictures
Source: Official Charts Company/BVA
Film continues to dominate Blu-ray purchasing,
accounting for 80% of volume sales in 2010 and 76%
of value. Its importance is meanwhile reducing, as
these figures are down on 2009’s levels of 87% and
83% respectively. This is due to the growing importance
of Children’s and TV content to the format, driven by
the success of Toy Story 3 and The Pacific. In terms of
the best-selling titles Film continues to dominate, with
16 of the Top 20 by volume being from the genre,
down one on 2009. This is linked to the fact that
males dominate Blu-ray purchasing, accounting for
75% of all titles bought in 2010 according to Kantar
Worldpanel. This is actually up on 2009’s figure of
70% and is due to the fact that the catalogue of titles
has grown, attracting more heavy video buyers to the
format, who tend to be typically more male biased.
The best-selling Blu-ray titles on a value basis have
been provided for the first time. The listing is very
similar to the volume chart although there is some
variation in the order. There are just two titles in the
value Top 20 which do not feature in volume: The
Lord Of The Rings: The Return Of The King and the TV
title Band Of Brothers.

Consumer insight – Blu-ray RETAIL
Have you heard of these technologies?
94.9% 96.5% 91.6% 95.4%
HD TV
1080p/
Full HD
% Who claim to be “knowledgeable”
or “somewhat knowledgeable”
about technology
40.2%
Blu-ray
Discs
33.8%
78.3% 83.5%
34.0%
HD TV Blu-ray 1080p/
Discs Full HD
40.4% 44.4%
Blu-ray remains a very important technology for video
entertainment as it improves the viewing experience
for consumers and helps to grow the business. Five
million people bought a Blu-ray Disc in 2010 and sales
since launch have reached 26 million. The number of
Blu-ray players sold has passed the 2 million mark
with a further 3.9 million available via the Playstation 3
computer console. As with any growing format the BVA
looks to provide insight into consumers’ perception of
the technology. To this end it has continued to research
Blu-ray in its annual study with Kantar and some of the
findings are provided below.
The study has shown that almost the entire population
(95.4%) has now heard of Blu-ray. It is becoming more
mainstream, as the over 45s and women become
increasingly involved. Despite this high level of
awareness, only 34% of people actually claim to be
“knowledgeable” or “somewhat knowledgeable” about
it. Those who claim to understand the format most are
young people and fathers. “Seeing is believing,” as the
saying goes and 80% of actual Blu-ray Disc buyers
Strong agreement from BD buyers
proves people see the benefits once
they have experienced BD
46.2%
Blu-ray Live BD has
BD has
8.6%
2009
2010
Blu-ray Live
much better
sound quality
BD has much
more interactive
features
% Who claim to be “knowledgeable” or
“very “knowledgeable”about Blu-ray
33.8%
31.0%
79.8%
much better
picture quality
38.1%
69.4%
54.4% 53.8%
48.4% 45.3%
27.4%
2009
2010
Youth
Dads
Young singles
Older males
Mums
28.9%
21.0%
14.1%
Older females
51.9%
Total respondents Blu-ray buyers
(Those who agree/strongly agree with each statement)
agree that the format has a significantly better picture
than DVD and 70% agree that it has much better
sound quality. However, this drops to less than 50%
and 40% respectively amongst non-buyers, so the
video industry needs to stimulate wider demonstration
of Blu-ray’s enhanced viewing and sound experience to
continue to drive ownership.
We asked people what they consider to be “Blu-ray
worthy”, ie worth paying Blu-ray’s premium for and
there were some interesting insights. The overwhelming
preference was for Action/Adventure titles with 63% of
people selecting this genre. The next most popular
was Natural History which featured above popular
genres such as Science Fiction and Fantasy Films.
This offers opportunities for distributors to widen
their range of non-film titles.
Kantar estimates suggest that 2011 will see the
numbers of Blu-ray buyers grow to 7.5 million, an
increase of some 50%, with an even greater potential
for interested consumers if the industry can find new
ways to work with retailers to promote the format.
55+
Source: Kantar Worldpanel
53

RETAIL Feature film – physical formats
2010 top 20 – film
Volume Value
The best-selling Film of 2010 was James Cameron’s
Oscar ® and BAFTA award-winning science fiction epic,
Avatar, which sold over 3 million copies in its eight
months on sale in the year. This generated retail sales
of some £40 million adding to its theatrical success.
The title achieved £94 million at UK cinemas between
2009 and 2010, making it the biggest-grossing Film
of all time.
The Twilight Saga phenomenon reached a climax
in 2010, with the two final Films from the series
available on video – The Twilight Saga – New Moon
and Eclipse. They sold 1.9 million and 1.4 million units
respectively, making them the second and third most
sought-after Films of the year. The popularity of the
Stephanie Meyer series resulted in the first Twilight
installment remaining in these charts for a second
year, bringing the total sales of The Saga to £62
million on video and £68 million at cinemas. Other
related titles also appear in the Special Interest
genre, such has been the appetite among fans
for any Twilight content.
The biggest-grossing Film (by video genre) in cinemas
in 2010 was the family film, Harry Potter And The Deathly
Hallows Part 1, which achieved £52 million at the boxoffice.
It will be released on video in 2011,
54
Pos Title Company
1 Avatar 20th Century Fox
2 The Twilight Saga
– New Moon
Entertainment One
3 The Twilight Saga – Eclipse Entertainment One
4 Inception Warner
5 2012 Sony Pictures
6 The Hurt Locker Elevation Sales/Lionsgate
7 Sherlock Holmes Warner
8 Harry Potter and
The Half Blood Prince
Warner
9 The Hangover Warner
10 Alice In Wonderland Walt Disney
11 Nanny Mcphee &
The Big Bang
Universal Pictures
12 Iron Man 2 Paramount
13 Alvin & The Chipmunks
– The Squeakquel
20th Century Fox
14 District 9 Sony Pictures
15 Clash Of The Titans (2010) Warner
16 Sex And The City 2 Warner
17 Robin Hood Universal Pictures
18 Inglourious Basterds Universal Pictures
19 The Expendables Elevation Sales/Lionsgate
20 Twilight Entertainment One
Pos Title Company
1 Avatar 20th Century Fox
2 The Twilight Saga
– New Moon
Entertainment One
3 The Twilight Saga – Eclipse Entertainment One
4 Inception Warner
5 Harry Potter and
The Half Blood Prince Warner
6 2012 Sony Pictures
7 Sherlock Holmes Warner
8 Iron Man 2 Paramount
9 The Hurt Locker Elevation Sales/Lionsgate
10 Alice In Wonderland Walt Disney
11 Sex And The City 2 Warner
12 Nanny Mcphee
& The Big Bang Universal Pictures
13 Clash Of The Titans (2010) Warner
14 Robin Hood Universal Pictures
15 Alvin & The Chipmunks
– The Squeakquel 20th Century Fox
16 The Expendables Elevation Sales/Lionsgate
17 The Hangover Warner
18 District 9 Sony Pictures
19 The A-Team 20th Century Fox
20 The Time Traveler’s Wife EV
Source: Official Charts Company/BVA
meanwhile its predecessor Harry Potter And The Half
Blood Prince remains in the top 20 for a second year.
There has always been a strong link between video and
cinema and 2010 is no exception. The titles which did
well in cinemas in 2010 also did well on video. Inception
achieved £36 million at the box-office, 2012 brought
in £19.5 million and the remake of Sherlock Holmes,
starring Robert Downey Jr, made £26 million. This link
helps distributors operationally both with planning disc
manufacturing and allocating marketing budgets.
One title which bucked the trend in 2010 was The
Hurt Locker. It achieved a modest box-office of £1.5
million but £11.6 million (and 1.2 million units) on video
once it won Best Film at both the BAFTAs and Oscars ® .
This reflects the power of awards to influence demand.
For the first time the best-selling Films on a value
basis are provided above. While the order of titles
between volume and value listings has some variation,
they are essentially very similar. Just two titles feature
in the value chart which are not in the volume list –
The A-Team and The Time Traveler’s Wife.
All the titles in the volume chart sold over
640,000 copies, while those in the Top 20
value chart achieved over £6.4 million.

Feature film – physical formats RETAIL
Company shares – film 2010
Volume Value
15.5% 14.4% 14.3%
20th Century Fox
Warner
Universal Pictures
11.2%
8.0% 7.3% 6.2% 5.0% 4.5% 3.8%
Sony Pictures
Paramount
Elevation Sales
Walt Disney
Sales breakdown by film genre 2010
Volume
EV
Entertainment One
Momentum
Comedy 20.0%
Drama 19.5%
Action/Adventure 15.7%
Family 12.3%
Sci-Fi 9.7%
Thriller 8.9%
Horror 6.3%
War 3.8%
Musical 2.1%
Western 0.9%
Animé 0.4%
Documentary 0.3%
Adult 0.1%
Bollywood 0.0%
Source: Official Charts Company/BVA
20th Century Fox was the most successful Film
company of 2010, mirroring its 2009 performance.
It achieved 15.5% of all volumes sold and 15.9% of
sales value in the genre. The company benefitted
from the release of the most popular Film of the
year, Avatar, as well other releases such as Alvin
& The Chipmunks: The Squeakquel and The A-Team.
Universal Pictures held onto second place in volume
sales for another year, although by a margin of just
0.1% over Warner Home Video. Its best-selling titles
were Nanny McPhee & The Big Bang and Robin Hood.
It was the best performing company on film catalogue
but fourth on new release.
While Warner remained in third place in volume sales
for a sixth consecutive year, it overtook Universal
Pictures to be the second most important Film company
on a value basis, with a share of 14.3%. Its best-selling
titles were Inception, Sherlock Homes and Harry Potter
And The Half Blood Prince. Warner was the second bestperforming
company by volume on Film new release
and third on catalogue product.
15.9%
14.3% 12.9%
20th Century Fox
Warner
10.1%
Sony Pictures
Universal Pictures
7.8% 7.2% 6.3% 6.2% 5.4%4.2%
Elevation Sales
Paramount
Walt Disney
EV
Entertainment One
Momentum
Elevation Sales saw its volume share rise from 5.1% to
7.3%, boosted by the success of Lionsgate’s The Hurt
Locker. Entertainment One (formerly E1 Entertainment)
had a very strong year, making its debut in the Film
company rankings claiming 4.5% of all volumes and
6.2% of value. It benefitted greatly from the success
of the three Twilight Saga titles.
As Film represents such a significant proportion of the
volume of discs sold, the BVA provides a more detailed
breakdown of the types of product within the genre in
the pie chart. Although there are 14 sub-genres the
vast majority of sales (92% in 2010) came from seven
sub-genres and almost 70% from just four. Comedy,
Drama, Action/Adventure and Family are the most
important types of product in the market in 2010.
There can be slight shifts in importance of each from
year to year driven by release activity, but these four
are usually the most significant. Comedy remains the
most important sub-genre accounting for 20.0%
of volumes, although this was down on the 23.3%
achieved in 2009. Its most popular titles were The
Hangover, Sex And The City 2 and It’s Complicated.
Dramas were a very close second in 2010 accounting
for 19.5% of volumes. These included all three of
The Twilight Saga films and The Time Traveler’s Wife.
Action/Adventure remained in third place and its
best-selling titles were 2012, Sherlock Holmes and
Clash Of The Titans (2010). Family held onto fourth
place with 12.3% of volumes and its most important
releases were Alice In Wonderland, Nanny McPhee
& The Big Bang and Alvin & The Chipmunks: The
Squeakquel. Only a small part of the market, the
War sub-genre, saw its share increase from 2.4%
to 3.8%, boosted by the success of The Hurt Locker.
With the popularity of Bollywood Films the BVA
requested that OCC add the sub-genre to the Film
classification in 2008. The pick-up of this type of
product through official retail channels remains
surprisingly low which is most likely due to a
particularly high level of piracy in these titles.
55

RETAIL Children’s – physical formats
2010 video top 20 – children’s
Volume Value
2010 marked the return of Toy Story to our screens
with Woody back for his third adventure after a ten
year absence. The popularity of Pixar animation
remains as strong as ever, with Toy Story 3 selling over
2.3 million copies in just six weeks, generating some
£30 million worth of retail disc sales. In fact in its
first week it sold over 1.4 million units, making it the
biggest week of any Toy Story release. It was also the
most popular title in UK cinemas in 2010, achieving a
box office of £74 million, making it the second biggest
theatrical release ever behind Avatar, and the biggest
Children’s/Family title, overtaking Shrek 2 at £48.2
million. This is a remarkable achievement in such a
competitive market place.
There was a second new animation from Pixar
in 2010 with the release of Up, the second most
successful Children’s title of 2010, selling over 1.2
million copies, taking some £16 million at retail. It
made its theatrical debut in 2009, achieving a total
box office of £34.6 million.
The DreamWorks team was prolific in the year with
seven titles in the Top 20. The best-selling of these
was Shrek Forever After – The Final Chapter selling
975,000 copies in 2010. DreamWorks reprieved other
56
Pos Title Company
1 Toy Story 3 Walt Disney
2 Up Walt Disney
3 Shrek Forever After –
The Final Chapter
Paramount
4 Cloudy With A Chance
Of Meatballs
Sony Pictures
5 How To Train Your Dragon Paramount
6 The Princess And The Frog Walt Disney
7 Monsters Vs Aliens – Mutant Paramount
Pumpkins From Outer Space
8 Monsters Vs Aliens Paramount
9 Beauty & The Beast Walt Disney
10 Toy Story Walt Disney
11 Kung Fu Panda – Secrets
Of The Furious Five
Paramount
12 Toy Story 2 Walt Disney
13 Fantastic Mr Fox 20th Century Fox
14 Ice Age 3 – Dawn Of
The Dinosaurs
20th Century Fox
15 Coraline Universal Pictures
16 Shrek The Third Paramount
17 Snow White And The
Seven Dwarfs
Walt Disney
18 Planet 51 EV
19 Toy Story/Toy Story 2 Walt Disney
20 Madagascar – Escape 2 Africa Paramount
Pos Title Company
1 Toy Story 3 Walt Disney
2 Up Walt Disney
3 Shrek Forever After –
The Final Chapter
Paramount
4 How To Train Your Dragon Paramount
5 Beauty & The Beast Walt Disney
6 The Princess And The Frog Walt Disney
7 Cloudy With A Chance
Of Meatballs
Sony Pictures
8 Toy Story Walt Disney
9 Ice Age 3 – Dawn Of
The Dinosaurs
20th Century Fox
10 Toy Story 2 Walt Disney
11 Fantastic Mr Fox 20th Century Fox
12 Toy Story/Toy Story 2 Walt Disney
13 Snow White And The
Seven Dwarfs
Walt Disney
14 Planet 51 EV
15 Monsters Vs Aliens Paramount
16 Monsters Vs Aliens – Mutant Paramount
Pumpkins From Outer Space
17 Coraline Universal Pictures
18 Kung Fu Panda – Secrets
Of The Furious Five Paramount
19 The Gruffalo Entertainment One
20 Aladdin Walt Disney
Source: Official Charts Company/BVA
popular characters with the release of Monsters Vs
Aliens – Mutant Pumpkins From Outer Space which sold
almost half a million units and Kung Fu Panda – Secrets
Of The Furious Five with almost 380,000 units. New
characters were introduced with the release of How
To Train Your Dragon which proved a great success,
selling over 600,000 copies.
Walt Disney released Pixar’s The Princess And The Frog
in 2010, which sold almost half a million units. Disney
made Beauty & The Beast available for the first time on
Blu-ray, hence the title’s re-entry in the volume chart
above, having last appeared in 2002. It is one of the
Disney classic collection which is made available for a
limited time for a new generation of children to enjoy.
20th Century Fox released new material in the
Children’s genre in the year with Fantastic Mr. Fox,
based on a book from the famous British author Roald
Dahl. Fox’s longstanding animation Ice Age remains in
these charts for a 10th consecutive year with Ice Age 3
– Dawn Of The Dinosaurs present for a second time.
The best-selling titles in the Children’s genre tend to
be those that started their life at the cinema. 2010 has
seen this trend very much in evidence with every title
following this pattern.

Children’s – physical formats RETAIL
Company shares – children’s 2010
Volume
34.6%
18.5%
Walt Disney
Paramount
10.1% 7.0% 5.5% 4.9% 4.7% 4.6% 3.7% 1.1%
Warner
Universal Pictures
2entertain
Entertainment One
HiT Entertainment
Sales breakdown by sector 2010
Sony Pictures
20th Century Fox
Abbey
School Age 24.1%
Pre-School 15.1%
Other Kids 26.3%
Walt Disney 34.6%
(Based on volume)
Source: Official Charts Company/BVA
For the first time a value-based Children’s chart is
provided above. It is essentially a very similar list to
that of the volume chart although the order of titles
does vary. Just two titles are different, The Gruffalo
and Aladdin featuring in the value breakdown but not
in volume. All the titles in the volume Top 20 sold
over 220,000 copies, while those in the value chart
achieved over £1.8 million worth of retail sales.
Walt Disney Studios was the best-selling Children’s
video distributor in 2010, a position it has held since
BVA records began. The company claimed a third
(34.6%) of all volumes sold, a significant increase on
the 26.3% achieved in 2009. Its share in value, which
is shown here for the first time, was even higher at
45.4%. This reflects that Walt Disney accounted for
almost half of all Children’s video business in the
year. 2010 saw the company achieve significant
gains generated by its distribution of Pixar titles
and in particular the release of Toy Story 3 which
contributed 2.3 million units to its total.
Paramount remained the second most important
company to Children’s video, accounting for 18.5% of
all volumes sold and 16.8% of value. This was down
slightly on its 2009 performance when it claimed the
best-selling Children’s title with Madagascar – Escape 2
Africa. Paramount’s most popular Children’s titles in
2010 were Shrek Forever After – The Final Chapter,
How to Train Your Dragon and Monsters Vs Aliens –
Mutant Pumpkins From Outer Space.
Value
45.4%
16.8%
Walt Disney
Paramount
8.0% 5.1% 4.5% 4.4% 4.0% 3.5% 2.9% 1.2%
Warner
Universal Pictures
2entertain
Entertainment One
20th Century Fox
HiT Entertainment
EV
Sony Pictures
2010 was a very good year for Children’s product
generally, which saw volumes rise 10.3% and value
increase 18.9%. As a result both Walt Disney and
Paramount both saw their absolute sales in the
genre rise.
Warner held onto third place and although it did not
achieve any titles in the Top 20 in 2010 it still claimed
10.1% of all volume sales in the genre and 8.0% in
value, up on 2009. Its best-selling titles were its
2007 release Happy Feet and the 2005 Polar Express.
Universal Pictures saw its 2009 release Coraline
continue to prove popular, making its second
appearance in the Top 20.
Animated films which span children’s and adult viewing
make up a large part of the Children’s market. In
addition to this the genre contains product specifically
aimed at Pre-school and School-Age children. The
importance of these sub-genres is highlighted in the pie
chart above. Walt Disney operates in these sectors but,
due to its dominance, has been historically split out of
this chart. Pre-school (excluding Walt Disney) proved
very buoyant in 2010, with volumes up 10%. This was a
remarkable achievement in a sector facing competition
from free services such as Cbeebies and the BBC’s
iPlayer. Its best-selling titles were Peppa Pig – Peppa’s
Christmas (plus a host of other Peppa Pig titles), We’re
Back! A Dinosaur’s Story, Thomas & Friends – Misty
Island Rescue and Shaun The Sheep – Off The BAA.
School Age product (excluding Walt Disney) saw
volumes rise 6%. Its best-selling titles included
Monsters Vs Aliens – Mutant Pumpkins From Outer
Space, Kung Fu Panda – Secrets Of The Furious Five,
The Gruffalo and Mickey’s Twice Upon A Christmas.
57

RETAIL Music – physical formats
2010 video top 20 – music
Volume
2010 was a challenging year for the Music Video genre.
Michael Jackson’s untimely death in 2009 brought
a significant boost to the sales of the singer’s vast
back catalogue in that year. This helped the genre
produce strong volume growth of some 14% which
set a very high target for 2010. This level of demand
could not be maintained and consequently volumes
fell 16%. Nevertheless the popularity of Michael Jackson
remained very strong with This Is It, the feature-length
documentary charting the preparations for his London
concerts proving a huge hit among fans, selling almost
600,000 copies, making it worth some £7 million. The
title was thus the best-selling Music Video of 2010.
2010 marked the 25th anniversary for the stage
show, Les Misérables. To celebrate Cameron
Macintosh presented a brand new production of
Boubili & Schonberg’s legendary musical with new
staging and scenery. The video release of the show,
58
Pos Title Artist Company
1 This Is It Michael Jackson Sony Pictures
2 Les Misérables – In Concert – The 25th Anniverary Original Cast Recording Universal Pictures
3 The Circus – Live Take That Universal Music
4 Only Tonight – Live From London JLS Sony Music
5 Moonwalker Michael Jackson Warner Home Video
6 Bold As Brass Cliff Richard 2entertain
7 At Schonbrunn Vienna André Rieu Universal Music
8 Live In Vienna André Rieu Universal Music
9 Look Back Don’t Stare Take That Universal Music
10 360 Degrees At The Rose Bowl U2 Universal Music
11 Dream Cast – Les Misérables In Concert Cast Recording 2entertain
12 The Where We Are Tour – Live Westlife Sony Music
13 The Labyrinth Tour – Live From The O2 Leona Lewis Sony Music
14 London Calling – Live In Hyde Park Bruce Springsteen
& E Street Band
Sony Music
15 It Might Get Loud Various Artists Universal Pictures
16 I Am – World Tour Beyoncé Sony Music
17 Live From The Royal Albert Hall Killers Universal Music
18 Sunday For Sammy 2010 Various Artists Mawson & Wareham
19 Vision Michael Jackson Sony Music
20 Live At The Royal Albert Hall John Barrowman Lace DVD
Source: Official Charts Company/BVA
filmed at London’s O2 arena, proved very popular,
selling almost 370,000 copies, thereby generating
some £5 million worth of disc sales. This was the
second most sought-after Music Video title of
the year.
Another momentous occasion in 2010 was the return
of Robbie Williams to Take That which received much
media attention. Such was the interest in the band,
their newest release Progress was the best-selling
album of 2010, selling over 1.8 million copies. The
Music Video charting the band’s reunion Look Back
Don’t Stare did not perform as well as this, but it
should be borne in mind it was released on 6th
December so had just four weeks on sale in the
year. In addition it aired on terrestrial TV over the
Christmas period which may have affected demand.
Take That’s 2009 release The Circus – Live remains
in the Music Video chart for a second year.

Music – physical formats RETAIL
2010 video top 20 – music
Value
Pos Title Artist Company
1 This Is It Michael Jackson Sony Pictures
2 Les Misérables – In Concert – The 25th Anniverary Original Cast Recording Universal Pictures
3 Bold As Brass Cliff Richard 2entertain
4 360 Degrees At The Rose Bowl U2 Universal Music
5 The Circus – Live Take That Universal Music
6 Only Tonight – Live From London JLS Sony Music
7 At Schonbrunn Vienna André Rieu Universal Music
8 Live In Vienna André Rieu Universal Music
9 Look Back Don't Stare Take That Universal Music
10 London Calling – Live In Hyde Park Bruce Springsteen
& E Street Band
Sony Music
11 Vision Michael Jackson Sony Music
12 Sunday For Sammy 2010 Various Artists Mawson & Wareham
13 The Where We Are Tour – Live Westlife Sony Music
14 Dream Cast – Les Misérables In Concert Cast Recording 2entertain
15 It Might Get Loud Various Artists Universal Pictures
16 Moonwalker Michael Jackson Warner Home Video
17 The Labyrinth Tour – Live From The O2 Leona Lewis Sony Music
18 I Am – World Tour Beyoncé Sony Music
19 The Big 4 – Live From Sofia Bulgaria Metallica/Slayer/
Megadeth/Anthrax Universal Music
20 Live At The Royal Albert Hall John Barrowman Lace DVD
The best-selling Music Video titles continue to differ
greatly from the best-selling albums. The genre is
very much dominated by established artists, bands
and stage shows, while new acts tend to feature less
prominently. Some of the most popular album artists
of 2010 do not feature in the Top 20 Music Video
chart above, including Lady Gaga, Rihanna, Plan B,
Paolo Nutini, Alicia Keys and Florence & The Machine.
Some have not even released any material on the
format such is the availability of free content on the
internet or on their albums.
For a number of years we have reported in this
Yearbook the steady decline in Music stores with the
loss of once well-known high street names of Tower
Records, MVC, Music Zone, Zavvi, Borders and many
Fopp stores. With so many outlets now gone this has
inevitably been a major factor in the availability of
product. Music Video has simply been harder and
harder to find on the high street which has hit sales.
Source: Official Charts Company/BVA
2010 did not see any further significant losses but at
year-end HMV did report a disappointing Christmas, and
while it was still profitable it was planning to close some
60 stores. Music has basically shifted to a category
bought mainly online and at supermarkets which has
made life very challenging for specialist retailers.
Artists making their debut in the chart this year are
the classical conductor André Rieu, Leona Lewis and
Beyoncé. Cliff Richard, a stalwart of these charts,
registers his 14th appearance in the last 16 years.
Daniel O’Donnell, another regular, is absent in 2010
as he did not release any new material but instead
put out an Ultimate DVD Collection.
All the titles in the Top 20 volume chart sold over
23,000 copies in 2010, while the Top 2 broke the
300,000 unit barrier. Looking at the value-based
chart all the titles sold over £300,000 in retail sales.
59

RETAIL Music – physical formats
Company shares – music 2010
Volume
60
Universal Music
Sony Pictures
Sony Music
Universal Pictures
Eagle Rock
2entertain
EMI Music
Warner Music Int
Warner Home Video
Warner Music
Michael Jackson
André Rieu
Take That
Cliff Richard
JLS
U2
Westlife
Bruce Springsteen
& E Street Band
Rolling Stones
John Barrowman
1.1%
3.0%
2.3%
4.3%
4.2%
6.1%
Top-selling music artists – 2010
Volume
1.2%
1.2%
1.2%
1.7%
1.0%
1.0%
2.3%
3.6%
3.2%
13.2%
14.7%
14.5%
16.6%
17.6%
Universal Music remained the best-selling Music
Video distributor for a second year, claiming 16.6%
of all volumes sold, although less than the 25.1% it
achieved in 2009. It was also the most successful
company on a value basis with a share of 17.2%, the
first time this data has been made available in this
Yearbook. It claimed the best-selling title in 2009 with
Take That’s Circus which sold almost 575,000. This
was also its 2010 best-selling title, but it achieved just
over 70,000 units, hence the reduction in Universal
Music’s market share.
Sony Pictures made its debut in the Music Video Top
Ten in 2010 following the release of Michael Jackson’s
This Is It. The title could have been considered as a
Film release but was officially classified as a Music
title, hence Sony Pictures’ high ranking. This pushed
Sony Music narrowly into third place by volume with
a share of 14.5%, while it had to settle for fourth in
value, behind Universal Pictures. Universal Pictures
benefitted from the release of Les Misérables – In
Concert: The 25th Anniversary Concert which sold
almost 370,000 copies. This compares with 50,000
copies on its 2009 best-seller, The Story Of Anvil.
Value
Universal Music
Sony Pictures
Universal Pictures
Sony Music
Eagle Rock
EMI Music
2entertain
Warner Music Int
Warner Music
Warner Home Video
1.6%
1.4%
5.5%
5.2%
4.5%
3.4%
14.8%
14.2%
13.4%
17.2%
Source: Official Charts Company/BVA
Warner Home Video remained in the rankings for a
second year as it continued to benefit from its Michael
Jackson back catalogue.
Looking at the best-selling artists and bands of the
year reveals that Michael Jackson was the most
popular, accounting for a staggering 17.6% of all
volumes sold in the genre. This is the largest
proportion ever reported in this Yearbook and has
been driven by the success of This Is It. If this title
were removed from our analysis Michael Jackson
would drop to 3.8%. The 2009 leader, Take That,
slipped to third while a new entrant claimed second
place, the Dutch violinist, conductor and composer
André Rieu.
In terms of the number of titles available in the
market Elvis Presley continued to have the biggest
library, with 97 titles registering sales, while the
Beatles were second with 51. Despite this Elvis failed
to enter the Top 10 artists ranking, making it to 13th
while The Beatles were 49th.
Cast recordings taken from stage shows like Les
Misérables proved very popular in 2010, accounting
for 11.9% of volumes, while compilations from
various artists represented 6.1%.

Meet Paula
the Pirate.
© 2011 Rovi Corporation. All rights reserved.
Keep your customers honest.
And your bottom line healthy.
Discourage people from casually
copying your titles.
Not all DVD pirates are in it for the money. Some just
want to make a few copies for their friends, or copy a
rented movie before they take it back to the store.
Casual copying can be just as big a threat to your
bottom line as commercial DVD bootleggers and
illegal peer-to-peer file sharers. But not all consumer
rippers are the same. The good news is, most can be
deterred.
Rovi’s content protection solutions –
RipGuard (designed to stop digital
ripping) and ACP (which inhibits analogout
copying) – are proven to frustrate
most casual copiers, without affecting
the viewing experience in any way.
Best of all, when you frustrate casual
rippers, they tend to buy the title.
That’s a good thing… for them, and
for you.
Find out more at
rovicorp.com/casualripping

RETAIL Sport – physical formats
2010 video top 10 – sport
Volume Value
In a year which saw the FIFA World Cup take place,
the Winter Olympics, the Commonwealth Games and
Europe win the Ryder Cup, demand for Sports titles
was disappointing. In all the volume of disc sales
fell 19.5%; perhaps the quantity of live sports
programming available satisfied consumer demand.
The Summer was dominated by the FIFA World Cup
which affected video purchasing more generally,
especially while England remained in the competition.
Formula One saw Jensen Button lose the championship
title to Sebastian Vettel and Manchester United were
knocked out of the Champions League in the
quarter-finals.
Europe regaining the Ryder Cup in Wales did bring
with it some positive news for the genre, with the
Official Film of the competition becoming the bestselling
Sports title of the year, selling over 42,000
copies generating a retail sales value of £830,000.
It is not possible to assess the actual performance
of each specific sport, as titles are not categorised
in this way. However, football remains very important
to the genre, accounting for four of the titles in the
Top 10 and eight in the Top 20. Despite a lack of
wrestling content on terrestrial TV channels, the
62
Pos Title Company
1 The 2010 Ryder Cup
Official Film
Lace DVD
2 Dancing On Ice – The Live
Tour 2010
Universal Pictures
3 1966 World Cup Final 2entertain
4 Official Review 2010 FIA
F1 Championship
Universal Pictures
5 WWE – Wrestlemania 26 Clear Vision
6 Danny Dyer’s Funniest
Football Foul-Ups
Revolver
7 WWE – Royal Rumble 2010 Clear Vision
8 UFC – Best Of 2009 Clear Vision
9 England’s Road To
South Africa
Lace DVD
10 Reds & Blues – Ballad Of
Dixie & Kenny
Liverpool FC
Company shares – sport 2010
Volume Value
Clear Vision
2entertain
Lace DVD
Universal Pictures
ILC Media
Go Entertain
Revolver
ITV Studios
Duke
G2 Entertainment
9.3%
9.0%
6.2%
5.0%
3.9%
3.8%
3.4%
3.2%
1.9%
33.9%
Pos Title Company
1 The 2010 Ryder Cup
Official Film
Lace DVD
2 WWE – Wrestlemania 26 Clear Vision
3 Dancing On Ice – The Live
Tour 2010
Universal Pictures
4 Official Review 2010 FIA
F1 Championship
Universal Pictures
5 WWE – Royal Rumble 2010 Clear Vision
6 Danny Dyer’s Funniest
Football Foul-Ups
Revolver
7 Reds & Blues – Ballad Of
Dixie & Kenny
Liverpool FC
8 UFC – Best Of 2009 Clear Vision
9 WWE – Raw – The Best
Of 2009
Clear Vision
10 WWE – Shawn Michaels –
My Journey
Clear Vision
Clear Vision
Lace DVD
2entertain
Universal Pictures
ILC Media
Duke
ITV Studios
Revolver
Go Entertain
FremantleMedia
43.1%
8.6%
6.5%
6.4%
4.0%
3.8%
2.9%
2.9%
2.6%
1.5%
Source: Official Charts Company/BVA
sport remains very popular to a sector of the videoowning
community, with three titles in the volumebased
Top 10 and six in the Top 20. In terms of value,
wrestling is even more important, accounting for half
the titles in the Top 20. This has enabled Clear Vision
to remain the most successful Sports Video company
for a fifth consecutive year. Its range is dominated by
its World Wrestling Entertainment (WWE) catalogue
of titles as well as its Ultimate Fighting Championship
(UFC). Overall, Clear Vision claimed more than a third
(33.9%) of all market volume, up from 26.0% in 2009.
In terms of value, shown above for the first time, its
significance was even greater, accounting for 43%
of retail sales in the genre.
Strong gains made by Clear Vision meant many of
the remaining companies in the volume based Top
10 saw their shares fall on 2009, except for Lace,
Go Entertain and Duke. G2 Entertainment is a new
entrant to the company rankings and its best-selling
title was Destination South Africa – The Road To.
All the titles in the volume chart above sold over
15,000 units in 2010, while those in the value Top
10 achieved over £170,000.

Fitness – physical formats RETAIL
2010 video top 10 – fitness
Volume
Pos Title Company
1 10 Minute Solution
– BlastOff Belly Fat
Anchor Bay
2 Hannah Waterman’s
Body Blitz Universal Pictures
3 Davina Fit 2entertain
4 Pump It Up 2010 Ministry Of Sound
5 Pussycat Dolls Workout Anchor Bay
6 The Tracy Anderson
Method – Mat Workout
ITV Studios
7 Diversity – Dance
Fitness Fusion
2entertain
8 Jillian Michaels – Elevation Sales/
30 Day Shred Lionsgate
9 Clubland – The Workout
Of Your Life
Universal Pictures
10 10 Minute Solution – Pilates Anchor Bay
Company shares – fitness 2010
Volume
Anchor Bay
2entertain
Universal Pictures
Ministry Of Sound
Elevation Sales
ITV Studios
FremantleMedia
Acorn Media
Momentum Pictures
4Digital Media
8.8%
5.6%
3.7%
2.5%
2.1%
1.8%
1.5%
20.4%
16.6%
28.7%
2010 was a very good year for the Fitness video
market which saw volumes rise 15.9% on 2009. The
nation’s interest in health and wellbeing continued in
earnest and the category’s popularity grew, having
seen volumes previously slip 19% in 2009.
For the last five years the genre has been headed up
by a celebrity title, in 2009 by Davinia McCall with
her Super Body Workout and previous to that Natalie
Cassidy’s Then & Now (2008), Vicky Entwistle’s – Wow
Weight Off Workout (2007), Charlie Brooks Before &
After Workout (2006), Davina McCall – The Power Of 3
(2005). 2010 saw a shift in this trend with 10 Minute
Solution – Blast Off Belly Fat the most popular title of
the year, selling 150,000 units worth over £800,000
in retail sales. The title is part of a large range of
10 Minute Solution titles by Anchor Bay, which really
captured the Fitness buyer’s attention despite no
endorsement by a celebrity. Its below average price
for the genre boosted demand and as a result it was
the fourth most successful title on a value basis.
TV presenter Davina McCall continued to prove very
popular, making her sixth consecutive appearance in
the Fitness charts with Davina Fit. The title was the
best-selling on a value basis, achieving sales of over
2010 video top 10 – fitness
Value
Pos Title Company
1 Davina Fit 2entertain
2 Hannah Waterman’s
Body Blitz
Universal Pictures
3 Pump It Up 2010 Ministry Of Sound
4 10 Minute Solution
– Blast Off Belly Fat
Anchor Bay
5 The Tracy Anderson
Method – Mat Workout
ITV Studios
6 Diversity – Dance
Fitness Fusion
2entertain
7 Pussycat Dolls Workout Anchor Bay
8 Clubland – The Workout
Of Your Life
Universal Pictures
9 Rosemary Conley’s Real
Results Workout
Universal Pictures
10 Strictly Come Dancing Elevation Sales/
– Strictly Fit Lionsgate
Value
2entertain
Universal Pictures
Anchor Bay
Ministry Of Sound
Elevation Sales
ITV Studios
Acorn Media
FremantleMedia
Momentum Pictures
EMI Music
26.4%
19.9%
18.1%
10.1%
5.5%
4.8%
2.2%
1.8%
1.5%
1.3%
Source: Official Charts Company/BVA
£1.7 million with almost 125,000 copies sold. There
is some variation between the volume- and valuebased
Fitness charts, with eight of the Top 10
common to both.
2010 saw the usual batch of newcomers to the
category – Hannah Waterman from Eastenders, the
Britain’s Got Talent winning dance group, Diversity, and
the fitness guru Jillian Michaels. Rosemary Conley,
aged 64, has been a regular in these charts and
while she was absent in 2009 she returned in 2010
with what has been billed as her last fitness release.
Anchor Bay (formerly Starz) saw its volume share
more than triple in 2009 and its growth continued
in 2010 making it the best-selling Fitness company
of 2010, the first time it has held this position. It
benefitted greatly from the success of its 10 Minute
Solution range and in particular Blast Off Belly Fat. It
achieved a volume market share of 28.7%, up from
18.1% in 2009. On a value basis, however, 2entertain
was the clear market leader, claiming over a quarter
(26.4%) of all business in the genre.
All the titles in the volume chart above sold over
34,000 units in 2010, while those in the value based
Top 10 achieved retail sales of over £335,000.
63

RETAIL TV – physical formats
2010 video top 20 – TV
Volume Value
TV video remains a very interesting sector considering
the plethora of choice open to consumers. Terrestrial
channels, Freeview, satellite and cable services such
as Sky and Virgin Media, online catch-up services led
by BBC’s iPlayer, 4oD and ITV Player offer widespread
opportunities for consumers to watch their
favourite TV shows, films, dramas, etc. Personal
Video Recorders (PVRs) such as Sky Plus enable
users to automatically record whole series of TV
programmes, yet despite the enormous competition
there remains significant demand for pre-recorded
video on disc. Over 31 million TV videos were sold in
2010 and this was down just 5.9% on 2009. Some of
this loss was simply due to an accounting issue, as
2009 was a 53-week year versus 52 weeks in 2010. It
should also be borne in mind that the overall physical
video market was down 8.3% in volume in 2010, so
64
Pos Title Company
1 The Inbetweeners – Series 3 Channel 4 DVD
2 The Pacific Warner
3 Gavin & Stacey – Series 3 2entertain
4 An Idiot Abroad 2entertain
5 Family Guy – Season 9 20th Century Fox
6 Downton Abbey – Series One Universal Pictures
7 The Inbetweeners – Series 2 Channel 4 DVD
8 Band Of Brothers Warner
9 Family Guy – Happy
Freakin’ Christmas
20th Century Fox
10 Top Gear – Apocalypse 2entertain
11 Family Guy – Something
Something Darkside
20th Century Fox
12 Friends – The Complete
Series 1-10
Warner
13 Planet Earth – The
Complete Series
2entertain
14 Outnumbered – Series 2 2entertain
15 Gavin & Stacey
– Christmas Special
2entertain
16 Glee – The Complete
First Season
20th Century Fox
17 True Blood – The
Complete 2nd Season
Warner
18 24 – Season 8 20th Century Fox
19 Mad Men – Season 3 Elevation Sales/
Lionsgate
20 The Complete Fawlty Towers 2entertain
Pos Title Company
1 The Pacific Warner
2 The Inbetweeners – Series 3 Channel 4 DVD
3 Gavin & Stacey – Series 3 2entertain
4 Family Guy – Season 9 20th Century Fox
5 Friends – The Complete
Series 1-10
Warner
6 Lost – The Complete
6th Season
Walt Disney
7 Downton Abbey – Series One Universal Pictures
8 An Idiot Abroad 2entertain
9 Band Of Brothers Warner
10 24 – Season 8 20th Century Fox
11 True Blood – The
Complete 2nd Season
Warner
12 The Sopranos –
Series 6 Part 2
Warner
13 Glee – The Complete
First Season
20th Century Fox
14 Mad Men – Season 3 Elevation Sales/
Lionsgate
15 Sex & The City – Season 6 Paramount
16 The Inbetweeners – Series 2 Channel 4 DVD
17 The Wire – The
Complete Series
Warner
18 Planet Earth – The
Complete Series
2entertain
19 The Vampire Diaries
– Complete Season 1
Warner
20 Only Fools & Horses
– Complete Series
2entertain
Source: Official Charts Company/BVA
TV is outperforming the market generally. Ownership
and portability of content is clearly very important
within this sector, hence the success of TV on DVD
and Blu-ray Disc.
The Inbetweeners – Series 3 was the best-selling
TV title of 2010, selling almost 590,000 copies. A
sitcom about a group of teenage boys has proved
consistently popular and mirrors the success of the
second series which topped these charts in 2009.
The title benefitted greatly from a box-set release
which included the first two series from the Channel
4 show. In fact the box-set itself sold more than the
individual release. If these sales were excluded The
Pacific would be the top seller, having sold over
530,000 units.

TV – physical formats RETAIL
Company shares – TV 2010
Volume Value
2entertain
Warner
20th Century Fox
Universal Pictures
Channel 4 DVD
ITV Studios
Paramount
Walt Disney
FremantleMedia
Acorn Media
7.7%
6.4%
6.0%
4.8%
4.3%
2.9%
2.0%
11.4%
14.1%
The Pacific is an HBO (distributed by Warner) 10-part
mini-series from the creators of Band Of Brothers.
It was the most successful title on a value basis,
achieving retail sales of almost £16 million. American
programming is very important to the market and has
a significant presence in the TV charts, accounting for
half the volume-based Top 20 and 13 titles in the value
chart in 2010. Family Guy, a perennial favourite among
UK audiences, makes its sixth consecutive appearance
with its ninth series which sold over 325,000 units.
Band Of Brothers remains ever popular despite its
release back in 2002. It makes its eighth appearance
in the volume Top 20 and has accrued over 2 million
sales since launch.
UK productions are also very important to the market
and some new programmes appeared in the 2010 bestsellers
list, such as Ricky Gervais and Stephen Merchant
featuring in An Idiot Abroad, selling over 400,000
copies. The ITV1 period drama Downton Abbey did not
disappoint, attracting over 10 million TV viewers and
selling over 300,000 copies on video, published by
Universal Pictures. Despite no new episodes of Gavin &
Stacey the show remains in these charts for a third year.
The box-set continues to be very important to
the genre, with nine titles in the volume Top 20
benefitting from the format.
All the titles in the volume-based chart sold over
125,000 units, while those in the value Top 20
achieved over £2.5 million.
29.7%
2entertain
Warner
20th Century Fox
Universal Pictures
Channel 4 DVD
Paramount
Walt Disney
ITV Studios
FremantleMedia
Entertainment One
3.1%
2.0%
5.8%
5.7%
5.6%
5.1%
7.9%
12.8%
17.9%
24.1%
Source: Official Charts Company/BVA
2entertain remains the best-selling TV distributor for a
sixth consecutive year, in fact since the company’s first
full year of formation in 2005. It claimed almost a third
of all volumes sold (29.7%) and a quarter of all value in
the genre (24.1%), shown here for the first time. This
was more than double that of the next best-performing
company by volume, as 2entertain benefits from the
huge BBC catalogue with the sales of 1,800 titles listed
by the Official Charts Company in 2010. Its best sellers
in the year included the ever popular Gavin & Stacey
– Series 3, An Idiot Abroad and Top Gear – Apocalypse.
Warner held onto second place with a volume share
of 14.1%, up 1.1%, and 17.9% of value, up 1.4%. Its bestselling
titles included the 2010 release The Pacific, the
ever popular Band Of Brothers (first released in 2002)
and Friends – The Complete Series 1-10 (2004).
Universal Pictures produced a strong performance
with a volume share of 7.7%, up 1.1%, boosted by the
release of Downton Abbey – Series One. Channel 4 saw
its market share rise from 5.3% in 2009 to 6.4%,
benefitting from the huge interest in The Inbetweeners.
The series sold almost a million copies in 2010.
Other distributors to experience share gains were
20th Century Fox and ITV Studios. Their best-selling
TV titles were Family Guy – Season 9 and Emmerdale
– The Dingles – For Richer For Poorer respectively.
Acorn Media and FremantleMedia make their debut
in the volume company rankings and their most
popular titles were respectively Foyle’s War –
Series 6 and The World At War.
65

RETAIL Special interest (live comedy) – physical formats
2010 video top 10 – live comedy
Volume Value
The sixth and final video retail genre is known as
‘Special Interest’. It is essentially made up of two types
of product; Live Comedy from stand-up comedians such
as Michael McIntyre and a general “Other” category.
Live Comedy is by far the largest part of the Special
Interest genre, accounting for 81% of volume in 2010,
in line with 2009 when it represented 80% of sales.
Strong demand for Michael McIntyre’s Hello Wembley
which sold 1.3 million units in 2009 helped generate a
17.9% increase in volumes in that year, setting a very
tough target for 2010, which could not be maintained,
and 2010 saw demand fall 17.5%. Rather than release
new content, Michael McIntyre put out a box-set
collection of his previously seen material which sold
almost 190,000 copies, such is his popularity.
A newcomer, John Bishop, proved a resounding success
and his The Elvis Has Left The Building Tour was the bestselling
Live Comedy title of 2010, selling 550,000 units
in just seven weeks. This generated over £7 million
worth of retail sales. Although not as big as Hello
Wembley in 2009, it was the fastest-selling debut for
a Live Comedy title ever.
66
Pos Title Company
1 John Bishop – Live – The Elvis Has
Left The Building Tour
2entertain
2 Billy Connolly – Live In London 2010 Universal Pictures
3 Frankie Boyle – If I Could... I Would Channel 4 DVD
4 Kevin Bridges – The Story So Far –
Live In Glasgow
Universal Pictures
5 Michael McIntyre – Stand-Up Collection Universal Pictures
6 Ricky Gervais Live IV – Science Universal Pictures
7 Michael McIntyre – Hello Wembley Universal Pictures
8 Jimmy Carr – Making People Laugh Channel 4 DVD
9 Rhod Gilbert & The Cat That Looked
Like Nicholas Lyndhurst
Channel 4 DVD
10 Michael McIntyre – Live & Laughing Universal Pictures
Company shares – live comedy 2010
Volume Value
Universal Pictures
2entertain
Channel 4 DVD
Anchor Bay
Elevation Sales
Spirit Entertainment
ITV Studios
Warner
Pias Comedy
Best Medicine
3.9%
1.4%
1.0%
0.9%
0.6%
0.5%
0.4%
16.9%
16.7%
54.8%
Pos Title Company
1 John Bishop – Live – The Elvis Has
Left The Building Tour
2entertain
2 Billy Connolly – Live In London 2010 Universal Pictures
3 Frankie Boyle – If I Could... I Would Channel 4 DVD
4 Kevin Bridges – The Story So Far –
Live In Glasgow
Universal Pictures
5 Michael McIntyre – Stand-Up Collection Universal Pictures
6 Ricky Gervais – Live IV – Science Universal Pictures
7 Bill Bailey – Dandelion Mind Universal Pictures
8 Jimmy Carr – Making People Laugh Channel 4 DVD
9 Rhod Gilbert & The Cat That Looked
Like Nicholas Lyndhurst
Channel 4 DVD
10 Michael McIntyre – Hello Wembley Universal Pictures
Universal Pictures
Channel 4 DVD
2entertain
Anchor Bay
Elevation Sales
Spirit Entertainment
ITV Studios
Pias Comedy
Warner
Comedy Central
3.9%
1.5%
1.0%
0.7%
0.6%
0.4%
0.4%
Source: Official Charts Company/BVA
16.8%
15.2%
57.4%
Source: Official Charts Company/BVA
TV exposure appears to be an important factor in
driving Live Comedy sales. At 44 John Bishop finally
hit the big time, gaining his own primetime BBC show
in 2010 with John Bishop’s Britain just as Michael
McIntyre did with Live At The Apollo.
The best-selling titles this year were dominated
by established acts and there was just one other
newcomer, Kevin Bridges, to the volume Top 10.
All the titles in the volume chart sold 120,000
or more copies, with those in the Top 10 value
listing achieving over £1.5 million in retail sales.
The value-based Live Comedy chart is provided above
for the first time. It is very similar to the volume
listing, with just two titles not common to both.
Universal Pictures continues to dominate Live Comedy,
accounting for over half of all volume (54.8%) and value
(57.4%) sales. Elevation Sales made its debut, boosted
by the release of Lionsgate’s Keith Lemon’s Fit. Other
newcomers were the Pias Comedy and Best Medicine
labels. Their best-selling titles were Jeff Dunham - Limited
Edition Box-Set and The Jeff Dunham Show respectively.
Comedy Central appears in the value company
breakdown and its best-selling title in 2010 was Stewart
Lee – If You Prefer A Milder Comedian Please Ask For One.

Special interest (other) – physical formats RETAIL
2010 video top 10 – other
Volume Value
Pos Title Company
1 Clarkson – The Italian Job 2entertain
2 Clarkson – Duel 2entertain
3 Twilight In Forks –
The Saga Of The Real Town
Entertainment One
4 Strictly Come Dancing Live Tour 2010 2entertain
5 Hell In The Pacific: The True Stories Revolver
6 Robsessed/The Haunted Airman Revolver
7 Streetdance – The Moves Entertainment One
8 Robsessed Revolver
9 The Secret Lace DVD
10 Heroes – The Greatest War Movies Ever Revolver
Company shares – other 2010
Volume Value
2entertain
Revolver
Entertainment One
Eagle Rock
Delta
Elevation Sales
Go Entertain
Lace DVD
FremantleMedia
Simply Media
3.4%
2.7%
2.3%
2.1%
2.0%
1.9%
1.9%
7.4%
6.6%
As well as Live Comedy the rest of the titles included
within the Special Interest genre are known as ‘Other’,
a grouping of any remaining titles not classified
elsewhere. The sub-genre includes an array of titles
from cars to dancing to documentaries to self-help
which all feature in the Top 10 above. Despite this
broad range, it forms a relatively small part of the
Special Interest genre, accounting for 20% of volumes,
equivalent to 1.2 million sales in 2010. This marks an
8.8% drop in volumes on 2009, in line with the fall
seen in the total physical market.
Jeremy Clarkson’s The Italian Job was the best-selling
‘Other’ title of 2010, achieving sales of almost 270,000
units and retail sales of over £3.5 million. The Top Gear
presenter is a stalwart of the sub-genre having topped
these charts on eight occasions with Duel (2009),
Thriller (2008), Supercar Showdown (2007), Heaven
& Hell (2005), Shoot Out (2003) Head To Head (1999)
and Most Outrageous Video (1998). Such is Clarkson’s
popularity, that his 2009 release Duel remained in
the chart for a second year.
The sub-genre tends to include titles which reflect
popular culture as video distributors take the
opportunity to capitalise on trends.
34.3%
Pos Title Company
1 Clarkson – The Italian Job 2entertain
2 Strictly Come Dancing Live Tour 2010 2entertain
3 The Clarkson Collection 2entertain
4 The Secret Lace DVD
5 Clarkson – Duel 2entertain
6 Hell In The Pacific – The True Stories Revolver
7 Twilight In Forks –
The Saga Of The Real Town
Entertainment One
10 Heroes – The Greatest War Movies Ever Revolver
9 Streetdance – The Moves Entertainment One
10 Brendan Cole – Live & Unjudged Lace DVD
2entertain
Revolver
Entertainment One
Lace DVD
BFI Video
Eagle Rock
Go Entertain
Simply Media
Delta
FremantleMedia
Source: Official Charts Company/BVA
39.8%
5.0%
3.5%
3.2%
2.5%
2.4%
2.3%
2.2%
2.2%
2.2%
Source: Official Charts Company/BVA
2010 saw two dance titles in the Top 10 having
benefitted from a recent resurgence in interest following
the success of Britain’s Got Talent winners Diversity and
George Samson, as well as the BBC primetime show
Strictly Come Dancing. Similarly, The Twilight Saga
phenomenon has sparked great interest in anything
to do with the series. From the stars of the show,
(with Robessed claiming two titles) to documentaries –
Twilight In Forks The Saga Of The Real Town.
A value-based chart is provided for the first time
and five titles appear in these listings which do not
appear in the volume breakdown, a wider variation
than has been seen in other genres. All the titles
in the value chart achieved retail sales of over
£100,000, while those in the volume based Top
10 sold over 13,000 units.
2entertain has dominated the sub-genre for the last
four years (since 2007). It remains the market leader
in 2010, claiming over a third (34.3%) of all volumes
and 39.8% of value. The remaining companies account
for some 66% of sales, more than any other genre,
such is the proliferation of content.
67

RETAIL All-time top 20 – physical formats
All-time top 20 – total video
Volume
The All-time best-selling chart is based on a
combination of historical records going back to the
early days of the video retailing combined with the
detailed sales figures provided via the Official Charts
Company (OCC). OCC’s data goes back to 1994 and
as such is the established way of referencing the
performance of DVD and Blu-ray via its online
system. Prior to this however, data on VHS titles is
not as readily available and the BVA must rely on its
historical records. While the BVA has added valuebased
charts to this Yearbook for the first time, it is
not possible to provide an All-time value equivalent
as the records are not available at this level.
Lord Of The Rings: The Fellowship Of The Ring
remains the most popular video release for the
seventh consecutive year. Despite having sold
some 7.6 million copies, the popularity of the Tolkien
classic continues to attract consumers, with its total
increasing annually due to its inclusion in a Trilogy
box-set. This box-set has benefitted each of The
Lord Of The Rings titles which each feature in the
Top 20 above.
Box-sets have proved very important to driving sales
of older titles, most notably in 2010, boosting
68
Position Title Company
1 The Lord Of The Rings: Fellowship Of The Ring EV
2 Titanic 20th Century Fox
3 Shrek Paramount
4 The Lord Of The Rings: The Two Towers EV
5 Harry Potter And The Philosopher’s Stone Warner
6 The Jungle Book Walt Disney
7 Dirty Dancing Elevation Sales/Lionsgate
8 Toy Story Walt Disney
9 Mamma Mia! – The Movie Universal Pictures
10 Pirates Of The Caribbean: The Curse Of The Black Pearl Walt Disney
11 Gladiator Universal
12 Harry Potter And The Chamber Of Secrets Warner
13 Grease Paramount
14 The Lord Of The Rings: The Return Of The King EV
15 Star Wars IV – A New Hope 20th Century Fox
16 The Shawshank Redemption ITV Studios
17 The Matrix Warner
18 Star Wars VI – Return Of The Jedi 20th Century Fox
19 Star Wars V – The Empire Strikes Back 20th Century Fox
20 Snow White And The Seven Dwarfs Walt Disney
Note: Company names refer to chart distributor of each title. Source: BVA/OCC/Official Charts Company
demand for Shrek and Toy Story. Both have had
follow-up releases within their franchises – Shrek
Forever After – The Final Chapter and Toy Story 3.
This has helped Shrek to become the third bestselling
title of all time, while Toy Story has jumped
six places to eighth, making it the highest climber.
Titanic continues to be the second most popular title
having sold almost 7.2 million copies. There were no
brand new entries to the Top 20 this year, just shifts
in position between titles.
Lion King dropped out of the Top 20 in 2010, as it
remains unavailable for sale as part of the Disney
classics range. Walt Disney, however, did not lose
out as another of its titles re-entered the chart,
Snow White And The Seven Dwarfs, a Disney classic
which was re-released in 2009.
All the titles listed above have sold over 5.2 million
copies, with 11 breaking the 6 million unit barrier and
of these two broke the 7 million mark.
Over the next two pages are the All-time charts
for each genre. The most significant change to note
is the addition of Michael Jackson’s This Is It to the
All-time Music Video chart.

RETAIL All-time charts – physical formats
70
Film
Position Title Company
TV
1 The Lord Of The Rings: Fellowship Of The Ring EV
2 Titanic 20th Century Fox
3 The Lord Of The Rings: The Two Towers EV
4 Harry Potter And The Philosopher’s Stone Warner
5 Dirty Dancing Elevation Sales/Lionsgate
6 Mamma Mia! – The Movie Universal Pictures
7 Pirates Of The Caribbean: The Curse Of The Black Pearl Walt Disney
8 Gladiator Universal Pictures
9 Harry Potter And The Chamber Of Secrets Warner
10 Grease Paramount
Position Title Company
1 High School Musical Walt Disney
2 Little Britain – The Complete 1st Series 2entertain
3 Band Of Brothers Warner
4 High School Musical 2 Walt Disney
5 Friends – Series 1 Warner
6 Pride And Prejudice 2entertain
7 The Office – The Complete 1st Series 2entertain
8 Friends – Series 7 Warner
9 Friends – Series 2 Warner
10 Fawlty Towers – Series 1 2entertain
Children’s
Position Title Company
Music
1 Shrek Paramount
2 The Jungle Book Walt Disney
3 Toy Story Walt Disney
4 Snow White And The Seven Dwarfs Walt Disney
5 The Lion King Walt Disney
6 Ice Age 20th Century Fox
7 Shrek 2 Paramount
8 Finding Nemo Walt Disney
9 Toy Story 2 Walt Disney
10 Beauty & The Beast Walt Disney
Position Title Company
1 Riverdance 2entertain
2 Lord Of The Dance Universal Pictures
3 Dream Cast – Les Misérables In Concert 2entertain
4 Cats Universal Pictures
5 Spice Girls – Official Video Volume 1 EMI Music
6 Joseph & The Amazing Technicolor Dreamcoat Universal Pictures
7 Take That – The Circus – Live Universal Music
8 3 Tenors In Concert Warner Music
9 Michael Jackson – This Is It Sony Pictures
10 Madonna – The Immaculate Collection Warner Music
Note: Company names refer to chart distributor of each title.

All-time charts – physical formats RETAIL
Special Interest
Position Title Company
1 Peter Kay – Live At The Bolton Albert Halls Universal Pictures
2 Peter Kay – Live At The Top Of The Tower Universal Pictures
3 Michael McIntyre – Hello Wembley Universal Pictures
4 Lee Evans – Big – Live At The O2 Universal Pictures
5 Deal Or No Deal – DVD Game Channel 4 DVD
6 Lee Evans – XI Tour 2005 – Live Universal Pictures
7 Michael McIntyre – Live & Laughing Universal Pictures
8 Clarkson – Supercar Showdown 2entertain
9 Peter Kay – Live At The Manchester Arena Universal Pictures
10 Ricky Gervais – Animals – Live Universal Pictures
Interactive DVDs
Position Title Company
Sport
1 Deal Or No Deal – DVD Game Channel 4 DVD
2 Now That's What I Call A Music Quiz EMI/Universal Pictures
3 Who Wants To Be A Millionaire 3 Universal Pictures
4 Richard Hammond’s Top Gear Interactive 2entertain
5 Who Wants To Be A Millionaire 2 Universal Pictures
6 Who Wants To Be A Millionaire 4 Universal Pictures
7 Richard Hammond’s Top Gear Stunt 2entertain
8 Family Fortunes – The Interactive DVD Universal Pictures
9 Little Britain – The Game ITV Studios
10 Family Fortunes – DVD Game – Vernon Kay Universal Pictures
Position Title Company
1 The Ashes – The Greatest Series DD Video
2 Rugby World Cup 2003 – Official Review Lace DVD
3 Torvill & Dean – Face The Music Universal Pictures
4 Nick Hancock – Football Nightmares Universal Pictures
5 Manchester United – The Treble 2entertain
6 Murray’s Magic Moments Universal Pictures
7 Danny Baker’s Own Goals & Gaffes Universal Pictures
8 Jeremy Clarkson’s Motorsport Mayhem Universal Pictures
9 England Rugby – Sweet Chariot Universal Pictures
10 Very Best Of Torvill & Dean 2entertain
Fitness
Position Title Company
1 Callanetics Universal Pictures
2 Cher Fitness – A New Attitude 20th Century Fox
3 Mr Motivator – BLT Workout Universal Pictures
4 Rosemary Conley’s Whole Body Programme 2entertain
5 Jane Fonda’s New Workout 2entertain
6 Geri – Yoga 2entertain
7 Davina McCall – The Power Of 3 2entertain
8 Davina – My Three 30 Minute Workouts 2entertain
9 Barbara Currie – Power Of Yoga 2entertain
10 Cindy Crawford – Shape Your Body ITV Studios
Note: Company names refer to chart distributor of each title.
71

RETAIL All-time top 20 – DVD
All-time top 20 – DVD
Volume
The best-selling DVD of all time remains Mamma Mia!
The Movie for a second year. It has sold over 6 million
discs since its release in November 2008, the only DVD
title to have ever done so. It has achieved this despite
not being included within any box-sets, a format which
has benefitted so many of the titles in the Top 20 above.
The Lord Of The Rings titles all benefit from their
presence in The Trilogy box-set which alone sold over
100,000 units in 2010. All three Lord Of The Rings
Films feature in the Top 5 best-selling DVDs of all
time. The Harry Potter franchise also comes in box-sets
and following the release of the sixth installment Harry
Potter And The Half Blood Prince in December 2009,
plus another surge in interest with the seventh release,
Harry Potter And The Deathly Hallows in cinemas in
2010, all titles within the series saw good increases in
their All-time sales. This resulted in each one climbing
further up this chart. All of the franchise feature in
the Top 20 bar one, Harry Potter And the Half Blood
Prince, which sits just outside at number 25.
72
Position Title Company
1 Mamma Mia! – The Movie Universal Pictures
2 The Lord Of The Rings: Fellowship Of The Ring EV
3 The Lord Of The Rings: The Two Towers EV
4 Pirates Of The Caribbean: The Curse Of The Black Pearl Walt Disney
5 The Lord Of The Rings: The Return Of The King EV
6 Shrek 2 Paramount
7 Harry Potter And The Goblet Of Fire Warner
8 Harry Potter And The Chamber Of Secrets Warner
9 Harry Potter And The Prisoner Of Azkaban Warner
10 Pirates Of The Caribbean: Dead Man’s Chest Walt Disney
11 Casino Royale Sony Pictures
12 Harry Potter And The Philosopher’s Stone Warner
13 Gladiator Universal Pictures
14 The Shawshank Redemption ITV Studios
15 Shrek Paramount
16 Harry Potter And The Order Of The Phoenix Warner
17 Finding Nemo Walt Disney
18 Grease Paramount
19 Madagascar Paramount
20 Ice Age 2 – The Meltdown 20th Century Fox
Source: Official Charts Company/BVA
There was just one new entry to the All-time chart
in 2010 – Ice Age 2 – which benefitted from strong
demand for the Ice Age Complete Collection following
the realease of Ice Age 3 – Dawn of the Dinosaurs.
Movie franchises continue to feature heavily in the
All-time chart with Lord Of The Rings, Pirates Of The
Caribbean, Harry Potter, Shrek, Madagascar, Ice Age and
007 claiming 15 places. This reflects the popularity of
Film as consumers want to stay in touch with their
favourite characters.
All the titles listed have sold 3.4 million copies or more
since launch on DVD, while 11 have broken the 4 million
barrier and of these three have sold over 5 million and
one 6 million.
Although value data has been added to much of this
Yearbook it is not possible to provide an All-time chart
based on retail sales value. The historical information
required to generate this is simply not available.

RETAIL Consumer behaviour – physical formats
Proportion of GB population buying
into each market (annually)
In 2010 58.2% of the British population bought at least
one video (across all formats) in the year, according to
Kantar Worldpanel, equating to 28.3 million people.
This consumer panel tracks the purchasing behaviour of
15,000 individuals, a representative sample of the GB
population. In 2010 Kantar changed its methodology
for generating its statistics, moving from a mixed
panel to purely online. This change means it is not
possible to compare the figures shown in this
Yearbook with those of previous years.
While more than half the population buys into the video
category, the absolute number of buyers actually fell by
almost 700,000 in 2010. This was entirely driven by a
reduction in those buying DVDs, with its penetration
level falling from 59.2% in 2009 to 56.5%.
More positively, the number of people buying Blu-ray
increased dramatically, rising from 6.2% of the
population to 10.3%. This means 5.0 million people
bought one or more Blu-ray Discs in the year, a rise
of 2.0 million on 2009. To add to this huge boost
in buyer numbers, the volume of purchases each
person made also rose from 3.2 titles in 2009 to
3.8. Both these consumer measures help to explain
the strong growth rate that we have seen on the
format, which is discussed further on page 28.
74
Total Video
DVD
Blu-ray
Cinema
Number of purchases/cinema tickets
(annual average)
Total Video
DVD
Blu-ray
Cinema
10.3%
6.2%
3.2
3.8
6.9
58.2%
59.9%
56.5%
53.0%
52.6%
7.4
7.7
8.0
8.1
8.1
59.2%
Frequency of purchase/cinema visits
(annual average)
Total Video
DVD
Blu-ray
Cinema
Average spend
(annually)
Total Video
DVD
Blu-ray
Cinema
Source: Kantar Worldpanel
Please note that 2009 figures differ from those reported in the 2010 Yearbook due to a methodology change.
2.4
2.9
4.8
4.5
In terms of DVD, the numbers of titles people bought
on average fell from 7.7 discs in 2009 to 6.9 in 2010.
Although down, this still equates to someone buying one
DVD every 71 /2 weeks. With the format so well established
in the market and consumers having accumulated
significant collections of titles, it is not unexpected that
their consumption rate might slow. Along with this fall
in purchases the number of shopping trips each person
made reduced to 41 /2 times in the year from 5 in 2009.
All these consumer measures culminate in the average
annual spend on DVD for each buyer falling 9.5% to
£52.41. Increased spend on Blu-ray, however, helped
to negate much of this, with consumers spending on
average £53.77 on the format, up 14.6%.
According to the study, the number of people visiting
the cinema in 2010 rose by 0.4%, equivalent to an
increase of 316,000. In all 53.0% of the GB population
went to the cinema in 2010 compared to 58.2% buying
a video, reflecting that home entertainment appeals
to a wider audience, bearing in mind the video buyer
is not the only viewer. The Kantar consumer panel
also indicates that cinema-goers made 7.6 trips to the
cinema in 2010 in-line with 2009. These figures exclude
people aged under 13 and over 79. Certainly the
younger age groups make up a significant proportion
of the cinema-going public so it is possible that if these
consumers were included the figures would be higher.
5.2
5.0
Data not available for cinema
£52.41
£46.91
2010 2009 2010 2009
£60.45
£62.25
£57.93
£53.77
7.6
7.6

Local children and young
people need your help
Action for Children helps the
most vulnerable and neglected
children and young people.
Find out how you can help at:
my.actionforchildren.org.uk
The quickest and easiest way to support the most vulnerable
and neglected children and young people in your area. For more
information on what we do or how you can get involved, please
call us on 0300 123 2112.
Find us online and tell your friends
actionforchildren
aslongasittakes
actionforchildrenuk
Donate at: my.actionforchildren.org.uk
Registered charity nos. 1097940/SC038092/company no. 4764232
Some Action for Children photographs are posed by models
Produced by Action for Children 05/2011. 10/11 0332

RETAIL Consumer behaviour – physical formats
Buyer cross-over within visual entertainment markets
Kantar’s consumer panel tracks the purchasing
behaviour of 15,000 individuals in GB across a wide
spectrum of categories including video, cinema, music
and games. This enables the BVA to establish the level of
consumer activity between different audiovisual markets.
These are defined as cinema, retail (video to own) and
rental. The level of consumer crossover between these
channels is highlighted in the Venn diagrams above.
In 2010 the number of people in the British population
(aged 13-79) who took part in one or more of these
activities fell from 76.3% to 75.1%. This differs from
the figures reported in the 2010 Yearbook due to a
change in methodology by Kantar. What this means
is that about a quarter of the population (24.9%) did
not either buy or rent a video or go to the cinema in
the year, which reflects the importance of these
activities as a leisure pursuit.
58.4% of the GB population bought one or more
videos (across all formats) in 2010 compared with
50.7% going to the cinema and 25.4% renting a
physical disc. Although retail video is the most
popular activity, the numbers active in this market
fell slightly in 2010 while those renting and going to
the cinema rose. This is particularly encouraging for
rental where we have seen transactions falling in the
traditional disc part of the market.
76
18.7%
20.4%
2010 2009
Retail Rental
(58.4%) (25.4%)
4.0%
15.3%
10.6%
4.4%
(50.7%)
Cinema
1.7%
Retail Rental
(60.1%) (24.6%)
20.1%
3.7%
15.1%
21.2% 3.8%
10.4%
(50.5%)
Cinema
2.0%
% of Nil-Activity 24.9% % of Nil-Activity 23.7%
Source: Kantar Worldpanel
Note: 2009 figures differ to that previously reported due to a change in methodology.
The greatest level of crossover in visual entertainment
markets is between retail and cinema, with 35.7% of
people active in both in 2010. There has always been
a close relationship between these two which has
proved very useful to video companies. A title’s box
office is generally a good steer of video demand. For
example Avatar achieved a gross box office of £94
million and 3.0 million units on video. One recent
exception to this was The Hurt Locker, which achieved
£1.5 million in UK cinemas but sold 1.3 million units
on video due to the boost it received following its
win of the Best Film award at the 2010 Oscars ® .
The relationship between rental and retail is not quite
as strong and reached 19.3% in 2010, although up from
18.8%. This is similar to the overlap between cinema
and rental which reached 19.7%, up from 18.9%.
15.3% of the GB population was active in all three
markets in 2010, up 0.2% on 2009.
Please note that the activity levels differ to the
penetration numbers quoted on page 74 and 92 due
to the fact that Kantar cinema and rental consumer
panels differ slightly from the retail equivalent.

Consumer behaviour – physical formats RETAIL
Consumer profile of video buyers and cinema-goers 2010
Total Video
DVD
Blu-ray
Cinema Visits
Total Video
DVD
Blu-ray
Cinema Visits
Total Video
DVD
Blu-ray
Cinema Visits
Total Video
DVD
Blu-ray
Cinema Visits
Under 20 20-24 25-34 35-44 45-54 55-64 65-79
10.3%
10.7%
5.9%
9.7%
19.8%
10.4%
10.5%
Female Male
42.6%
44.4%
25.2%
44.3%
AB C1 C2 DE
15.9% 35.6% 26.1%
15.8% 35.5% 26.5%
No Children Children
18.5%
17.5%
28.0%
16.5%
21.9%
21.7%
22.8%
23.7%
16.6% 36.8% 22.4%
20.1%
20.0%
18.6%
57.4%
55.6%
74.8%
55.7%
23.7% 34.5%
24.3%
21.2%
11.5%
12.7%
66.2% 33.8%
66.2% 33.8%
67.0% 33.0%
11.9%
65.9% 34.1%
7.4%
7.7%
6.9% 4.6%
6.2% 3.3%
22.4%
22.1%
Source: Kantar Worldpanel. Figures based on volume of purchases
Note: Kantar changed their methodology in 2010 for creating these figures so this consumer profile is not comparable with other Yearbooks.
Males dominate activity in the audiovisual sector where
they account for more than half of all purchases made
and their importance is even more marked on a value
basis. According to Kantar males bought 55.6% of all
DVDs sold and 74.8% of all Blu-ray Discs, as well as
accounting for 55.7% of all cinema admissions in 2010.
While females represent a smaller proportion of sales
overall, they are very active in certain areas of the
market. For instance they account for over half of all
Children’s and Sport & Fitness titles sold which is
covered specifically on page 79.
The 25 to 54 age group is key to the market, with 61%
of all video volumes being bought by these consumers.
This is even more marked for Blu-ray where this age
bracket accounts for 73% of purchases, up from 72%.
Young people between the ages of 13 and 24 accounted
for a fifth (21%) of purchases, reflecting their significant
share of sales. Those aged over 55 account for the
fewest sales, 19% overall and just 11.5% on Blu-ray.
Another way to look at consumers is by their socioeconomic
grouping. 2010 has seen video purchase
become slightly more up-market than it was in 2009.
Kantar indicate that just over half (51.5%) of all
purchases were made by ABC1s (see glossary on page 2
24.1%
17.5%
for definitions), up from 49.7% in 2009. Blu-ray is more
popular among these higher social groups, with 53.4%
of volumes accounted for by this group. Cinema-going
is an even more up-market activity with 58.2% of
visits made by ABC1s, compared to 41.8% for C2DEs.
According to the UK Film Council, the average price of
a cinema ticket in 2010 was £5.84, up from £5.44, an
increase of 7%. This makes it a relatively expensive
option compared to a video purchase with multiple
viewers. The average price of a DVD in 2010 was £8.94
although many titles were available for considerably
less. This makes a much cheaper option for a family
treat than a trip to the cinema.
Over the years video has been synonymous with family
viewing, yet the majority of sales in the market are
actually made by people without children. This group
of people accounted for two thirds (66%) of sales in
2010 and 68% of retail spend. This fact is probably
connected to the male bias detailed earlier. Effectively
the bulk of sales are accounted for by a relatively
small number of heavy buyers and this is covered
in more detail on page 78. People with children,
however, still account for a third of sales (33.8%)
so remain an important consumer group.
77

RETAIL Consumer behaviour – physical formats
Importance of buyers in the DVD market – 2010
% of Buyers
% Volume
% Spend
% of Buyers
% Volume
% Spend
Light (buying 1 - 4 unit/year) Medium (buying 5 - 11 units/year) Heavy (buying 12+ units/year)
45.7% 32.9% 21.5%
11.6% 26.0% 62.3%
13.7% 27.2% 59.1%
Importance of buyers in the Blu-ray market – 2010
Light (buying 1 - 2 unit/year) Medium (buying 3 - 6 units/year)
44.2% 35.1% 20.7%
11.2% 23.3% 65.5%
12.1% 23.9%
Reasons for purchasing 2010 – proportion of the population
Personal Use
Family Use
Gift
Personal Use
Family Use
Gift
DVD
DVD
Blu-ray
4.3%
5.1%
4.7%
29.4%
21.8%
35.0%
38.2%
35.6%
40.0%
29.3%
31.4%
35.2%
Reasons for purchasing videos 2010
% market volume % market value
Personal Use
Family Use
Gift
64.0%
Blu-ray DVD Blu-ray
Heavy (buying 7+ units/year)
23.6%
33.0%
37.4%
32.7%
38.9%
34.3%
Source: Kantar Worldpanel
Note: Kantar carried out a change in their methodology in 2010 which means these figures are not comparable to historical Yearbooks.
According to Kantar Worldpanel 56.5% of the
population bought a DVD in 2010, equating to 27.4
million people. The majority of these (45.7%) were
relatively light buyers purchasing less than five titles
in the year. Although this group represents some 12.5
million people, they account for just 11.6% of all DVDs
sold and 13.7% of spend. In contrast those at the other
end of the buying spectrum, heavy buyers buying 12
titles or more in a year, are much more important to the
market. This group accounted for 21.5% of buyers in
2010, equivalent to 5.9 million people, but they represent
a disproportionately high volume of DVD sales at 62.3%
and 59.1% of spend. The significance of these heavy
buyers to the industry is that they buy a title more than
once a month. Raising the number of titles necessary to
fall into this category increases this bias even further.
Blu-ray demonstrates a similar pattern of activity
although slightly more marked. Five million people
purchased a Blu-ray Disc in 2010 and of these almost
half (44.2%) bought up to two discs.
78
These light buyers accounted for just 11.2% of volumes
bought and 12.1% of spend. Conversely, heavy buyers,
buying seven Blu-ray Discs or more, represented
20.7% of people in the market but accounted for
three times as much of the volume and spend, at
65.5% and 64.0% respectively.
Using Kantar’s consumer panel we can also look
at consumer behaviour based on the reasons for
purchase which is very useful for marketers. In 2010
the biggest group of buyers (35.2%) was those who
bought a DVD as a gift. They accounted for less volume
and spend, however, at 29.4% and 34.3% respectively.
Slightly more important groups to the market are those
people who bought DVDs for themselves or for family
useage as they accounted for 35.0% and 35.6% of
volumes respectively.
For Blu-ray gifting is much less important to the
market as this reason for purchase represents 21.8%
of volumes. Personal and family useage are the most
significant drivers to purchase on the format.

Consumer behaviour – physical formats RETAIL
Consumer profile by genre – volume 2010
Music
Special Interest
Sport & Fitness
Children’s
TV
Film
Special Interest
Children’s
Film
Sport & Fitness
Music
Music
Children’s
Music
TV
Special Interest
Sport & Fitness
Film
Children’s
AB C1 C2 DE
TV 15.9% 37.4% 25..6% 21.1%
TV
Film
Special Interest
Sport & Fitness
Under 20 20-24 25-34 35-44 45-54 55-64 65-79
8.8% 7.7% 10.6% 17.7% 21.3% 20.6% 13.5%
7.8% 10.1% 15.0% 19.4% 19.9% 15.7% 12.1%
7.2% 9.7% 16.1% 21.6% 25.2% 9.8% 10.4%
3.5% 4.8% 29.7% 28.9% 15.1% 11.7% 6.2%
9.5% 11.4% 17.3% 20.4% 21.0% 12.2% 8.1%
11.1% 10.7% 18.5% 22.0% 20.2% 10.7% 6.7%
15.8% 33.4% 29.0% 21.8%
17.0% 34.8% 24.8% 23.3%
15.7% 35.5% 26.2% 22.6%
15.9% 33.4% 29.7% 20.9%
18.9% 29.7% 28.8% 22.3%
Female Male
No Children Children
37.7% 62.3%
39.0% 61.0%
56.2% 43.8%
74.7%
73.2%
68.1%
65.7%
38.4%
A demographic breakdown of the retail video market
for physical formats is provided on page 77. With 223
million videos sold in 2010 it is interesting to look at
smaller segments of the market and to this end a
breakdown by genre is also provided above. Each has
its own consumer profile which is useful intelligence
for marketing purposes.
Film has produced the youngest profile in 2010, with
those under 35 and under accounting for 40% of
purchases. TV and Children’s saw 38% of their volumes
made by this age-group, 10% more than for Music.
Music Video continues to have the oldest buyer profile,
with the 45+ age-group accounting for over half (55%)
of purchases in 2010. Special Interest saw almost half
of its volumes (47.7%) made by those over 45 in 2010.
While males dominate purchasing overall, there are some
distinct variations in activity when looked at by genre.
Females accounted for 56.2% of Sport & Fitness sales
43.0% 57.0%
46.0% 54.0%
52.4% 47.6%
25.3%
74.4% 25.6%
26.8%
31.9%
34.3%
61.6%
Source: Kantar Worldpanel. Figures based on volume of purchases.
Note: Due to a change in methodology these figures are not comparable with those of previous Yearbooks.
due to their importance in the Fitness market, which is
at its strongest in the New Year. Perhaps unsurprisingly
females also accounted for the majority of Children’s
sales, representing 52.4% of volumes in 2010.
We saw higher social groups account for just over half
of all video purchases in 2010. In terms of genres Music
is the most up-market, with 18.9% of sales made by
ABs. Extending this profile to include C1s sees TV
overtake Music, accounting for 53.3% of volumes.
Music and Sport & Fitness demonstrated a bias
towards lower social groups in 2010, with C2DEs
accounting for 51.4% and 50.7% of sales respectively.
Perhaps surprisingly, the majority of purchases made
in the video sector are by people without children
and this is most marked in the Music genre, where
these people accounted for three quarters (74.7%)
of volumes in 2010. Conversely, 61.6% of Children’s
product sold was purchased by people with children,
the only genre where this group dominated.
79

RENTAL Consumer market – all physical and digital formats
Rental video consumer market
£284
1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010
According to IHS Screen Digest there were 130 million
transactions in the UK rental market in 2010, down
1.4% in volume on 2009. These figures incorporate
both the rental of physical discs, either through rental
stores or online, as well as digital consumption made
via Video-on-Demand (VoD), Near Video-on-Demand
(NVoD) and Pay-Per-View (PPV) services. In value
terms the performance was stronger, with the market
worth some £428 million in 2010, up 2.2%. These
figures exclude digital rental subscriptions as we
have no figures on the volume of these transactions.
The rental of physical discs (DVDs and Blu-ray Discs)
remains the most important part of the market,
accounting for 56% of transactions (excluding
subscriptions). This level has been steadily falling
and in fact on a value basis makes up less than half
(48%) of the business. The availability and uptake
of legitimately delivered digital content which offers
consumers the ability to watch/stream a chosen title
for a fee is becoming a very significant part of the
rental market. Its convenience and value for money
makes it a very attractive proposition, as consumers
can simply watch a chosen title with a few clicks of a
mouse instead of a trip to the video store or renting
online. These services are provided by companies
80
233
£326
251
£371
271
£416
£418
289 277
253
£407
222
£389
£350
184
£339
£351
167 167
£382
175
165
£463
£382
195 184
203 208 199
182 182
Total transactions (millions): VHS-over-the-counter
Total Value (£millions)
Disc-over-the-counter Disc online Digital rental
Source: IHS Screen Digest/MRIB/Kantar Worldpanel/BVA
Note: Market sizes differ; IHS Screen Digest revised its historical digital rental sales
which means the figures above differ to those reported in the 2010 Yearbook.
£438
£532
£494
£552
£543
£571
such as BT Vision, Virgin Media through Internet
Protocol TVs (IPTVs) or with web-based companies
like LOVEFiLM, iTunes or Blinkbox.
The growth of internet-connected TVs will no doubt see
demand for these services grow further. Digital providers
are using technology to make the purchase experience
as easy as possible, with companies such as LOVEFiLM
creating a pre-loaded App on Samsung and Sony smart
TVs. In 2010 LOVEFiLM also offered an update for PS3
owners enabling them to use their services with a PS3
controller. This effectively synchronises with the users’
existing LOVEFiLM subscriptions, enabling them to
stream titles to their TV at no additional cost. With the
convenience of the digital rental offer, IHS Screen Digest
estimates this part of the market was worth £221 million
in 2010, up 12%, while traditional disc rental was worth
slightly less at £208 million, down 6%.
The use of kiosks to expand access to physical rental
did not take off in 2010. This channel has become
important in the USA as the proposition “A dollar
a night” is very attractive to consumers. America’s
supermarkets have adopted this model willingly,
although it would not necessarily be beneficial to
the smaller UK market.
169
£516
£467
150 142
£457
£419
£416 £428
131
131
130

Consumer Market – all physical and digital formats RENTAL
Rental transactions volume split by format
Year Over-the-counter Online Disc Digital Over-the-counter
Disc Rental Rental Rental VHS Rental
1999
9.8m 5%
174m 95%
2000 8m 4%
16.5m 8%
178m 88%
2001 25m 12%
21.1m 10%
161m 78%
2002 57m 29%
23.1m 12%
119m 60%
2003 87m 48%
26.4m 14%
69m 38%
2004 117m 64%
29.8m 16%
36m 20%
2005 107m 63%
23m 14%
32.0m 19%
7m 4%
2006 88m 58%
28m 19%
34.2m 23%
0.3m 0.2%
2007 69m 49%
29m 20%
43.7m 31%
2008 44m 33%
36m 27%
51.8m 40%
2009 36m 28%
43m 32%
52.5m 40%
2010 28m 21%
45m 34%
57.4m 44%
Rental transactions value split by format
Year Over-the-counter Online Disc Digital Over-the-counter
Disc Rental Rental Rental VHS Rental
1999
£29.6m 7%
£408m 93%
2000 £22m 4%
£49.5m 10%
£422m 86%
2001 £65m 12%
£67.6m 13%
£399m 75%
2002 £164m 30%
£76.2m 14%
£312m 57%
2003 £259m 48%
£92.4m 17%
£191m 35%
2004 £358m 63%
£110.2m 19%
£102m 18%
2005 £331m 64%
£46m 9%
£117.7m 23%
£22m 4%
2006 £272m 58%
£67m 14%
£126.2m 27%
£0.9m 0.2%
2007 £219m 48%
£77m 17%
£160.5m 35%
2008 £128m 31%
£92m 22%
£195.6m 47%
2009 £113m 27%
£109m 26%
£197.6m 47%
2010 £85m 20%
£123m 29%
£220.7m 52%
Source: IHS Screen Digest/MRIB/Kantar Worldpanel/BVA
Note: Market sizes differ IHS Screen Digest revised its historical digital rental sales which means the figures above differ to those reported in the 2010 Yearbook.
The rental of physical discs represented 56% of
transactions, down on the 60% achieved in 2009,
but 48% of value. IHS Screen Digest estimates that
UK consumers rented 72.2 million times on either a
DVD or Blu-ray in 2010. 62% of these transactions
were achieved via websites such as LOVEFiLM and
Blockbuster.co.uk and are defined in the table above as
online disc rental. The remaining 38% were achieved
through traditional rental stores. The average price of a
shop-bought rental is estimated to have fallen just 1.0%
to £3.08. While the price of new release rental is nearer
the £4 mark, this figure aims to take into account
catalogue and promotional sales. Online disc rental
is largely subscription based, so the value of this part
of the market is generated by subscriber numbers
combined with the monthly package they buy into. IHS
Screen Digest estimates this part of the market was
worth £122.6 million in 2010, up 13.0%, while over-thecounter
rentals were worth £85.2 million, down 25%.
In terms of digital rental IHS Screen Digest estimates
that there were 57.4 million TV episodes and movies
paid to view by UK consumers in 2010, up 9.4%. These
transactions were made via TVs using services such
as BT Vision, Virgin Media and Sky, as well as online
through iTunes, Microsoft’s Zune and Playstation
Network. There is also an additional £0.5 million of
business generated through TV and movie subscription
services, though this figure does not include LOVEFiLM’s
new streaming service as, to date, no streaming-only
subscription is available. The volume of transactions
generated by TV and movie subscription services are not
known and so have not been added to the total. TV VoD
accounted for 90% of the transactions in the total digital
rental sector. While TV-sourced content dominates, its
importance is reducing as internet-based activity starts
to grow. This area represented 10% of the business in
2010, up from 8% in 2009. The most important area
of digital rental remains NVoD services delivered via
satellite (Sky) which accounted for £104 million of the
digital total, up 6.6%. Cable VoD was the second largest
part of the sector with revenues of £88.9 million, up
10.5%. These well established services grew in 2010
despite declines in recent years. Rental via IPTVs also
grew to £11 million, up 13%. The fastest growing part
of digital is movies and TV streamed online, which
saw revenues double in 2010, up 70%, making them
worth £17 million.
81

RENTAL Digital rental
Digital rental breakdown
Volume Value
The digital rental market accounts for 74% of total
digital spend, according to IHS Screen Digest, which
is in stark contrast to the physical market where disc
rental accounts for just 9% of the combined retail and
rental sector. The ease of a few clicks and a relatively
low entry price makes digital rental a very accessible
option for consumers and as such it is an increasingly
popular way to watch content. The healthy growth
rate of 12% in value and 9% in volume of digital
rental highlights its appeal. Please note that catch-up
TV is excluded from the BVA’s definition of rental as
it generates no income for content owners.
TV-based rental services have been available for some
years provided through companies like Sky, BT Vision,
and Virgin Media. Due to their longstanding presence
these TV services dominate the digital rental sector,
accounting for 92% of revenues and 90% of
transactions. IHS Screen Digest estimates that there
were 51.4 million TV VoD transactions (excluding PPV
sports) in 2010, up 6.1% on 2009. This marks a return
to transaction growth for the sector after declines
in 2009. Consumer spending through these services
also increased, up 8.6% to £204 million in 2010. The
largest part of this sector, accounting for £104 million,
is satellite NVoD services delivered by Sky in the UK.
Consumer spending on this long established digitally
delivered service saw a return to growth in 2010 from
a decline in 2009. The remainder of this sector is
accounted for by true VoD services delivered though
Cable TV from Virgin Media and IPTV from BT Vision.
Consumer spending through these services also
grew, to £89m and £11m respectively.
82
TV Satellite
(NVoD)
TV Cable
(VoD)
TV IPTV
(VoD)
Online rental:
movies & TV
4.3m
3.7m
6.0m
4.0m
24.3m
24.5m
22.8m
20.2m
Importance of digital rental channels – 2010
Volume Value
Online rental: £16.7m
2010 2009 movies & TV £9.8m
2010 2009
TV Pay per view movies
42.3%
TV Cable (VoD)
39.7%
TV IPTV (VoD)
7.6%
Online rental:
movies & TV 10.5%
TV Satellite
(NVoD)
TV Cable
(VoD)
TV IPTV
(VoD)
£11.1m
£9.8m
£104.0m
£97.6m
£88.9m
£80.4m
TV Satellite (NVoD)
47.1%
TV Cable (VoD)
40.3%
TV IPTV (VoD)
5.0%
Online rental:
movies & TV 7.6%
Source: IHS Screen Digest
Open internet-based rental services remain dominated
by iTunes Store (iTs) as the main source of online
video content, although there is a number of other,
far smaller rental offers from the likes of Blinkbox and
LOVEFiLM. The latter added digital video to its rental
offer in 2009, however to-date does not offer separate
digital, only as part of its subscriptions package, and
thus is still accounted for under physical rental.
Microsoft and Sony are iTs’ principle competition in the
sector. Their respective Zune and PlayStation Network
services have added additional content over 2010 along
with some free to air catch-up options. However, their
websites are available only though Xbox 360 and
PlayStation 3 consoles, effectively limiting the available
audiences for their service. All three main players have
introduced a greater proportion of high definition
content over 2010 and, as with digital retail, this has
given a boost to average transaction price. Consumer
spending in the online digital rental sector increased
to £16.7million, growth of 70%.
In 2010 Project Canvas, a joint venture between UK
broadcasters BBC, ITV, Five, Channel 4, BT and ISP
TalkTalk was announced under the name YouView. Its
aim is to develop an internet-connected DTT platform
offering linear channels, VoD and web applications,
built on open standards where possible. This would
speed the delivery of digital content into the home
through connected devices such as TVs and
compatible set-top boxes, providing a user-friendly
solution for mass-market delivery of audiovisual
content. Regulatory and legal challenges have
delayed the project’s expected launch.

Shipments – physical formats RENTAL
Rental market shipments – volume (in millions)
3.1 3.1
1993
1994
3.4
1995
3.5
1996
VHS DVD Blu-ray
4.0
3.9 3.9
1997
4.6
1998
4.7
7.0
In addition to tracking the number of disc rentals by
consumers the BVA provides data on the level of trade
activity between video distributors and rentailers. This
information is gathered directly from BVA members
and is then factored up to reflect the total market.
There is no equivalent data for the digital sector.
Using this method the BVA estimates that there were
3.9 million video units shipped into the rental trade in
2010, down just 2% on 2009. While DVD shipments fell
10.7%, the numbers on Blu-ray more than doubled, up
215%. This brought the total Blu-ray Discs shipped
to 487,000 in 2010 compared to 3.4 million on DVD.
Blu-ray, therefore, accounted for 12.5% of rental
shipments in the year, double the proportion it
represented within retail. This marks a three-fold
increase in the level seen in 2009, reflecting the
success of the format within the rental market.
The average revenue achieved on each rental title
shipped was £10.01, up 0.9%. This brought the
estimated trade revenue for disc rentals to £39.1
million in 2010, down just 1.1%.
8.4
9.1
10.0
10.5
1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010
9.4
6.9
4.5 4.5
Source: BVA
The number of video rental shops has been in steady
decline in the UK in recent years, with the loss of
many independents and chains such as Global and
Choices. This has inevitably led to a reduction in the
stock of titles required and as such the number of
shipments within rental has steadily fallen. Another
complication in assessing the level of shipments is
that, from time to time, video distributors sanction
the use of retail product for rental usage. This,
therefore, is not counted by our figures and so the
true level of shipments is probably somewhat higher
than the BVA officially reports. Also worth pointing
out is that the level of digitally rented movies virtually
doubled in 2010 (up 89%) while VoD activity also grew
strongly. If digital shipment data were available this may
well offset the losses seen in the physical disc market.
There is a strong link between retail sales and
shipments but this same relationship does not exist
within rental. This is due to the very different nature
of the rental offer – a title shipped into the rental
trade can be rented any number of times while a
retail release is sold only once.
However, trade volumes cannot take account of
the digital business, where physical units are not
delivered. The BVA hopes to be able to provide
digital trade value in the future.
83

RENTAL Regionality – physical formats
Rental transactions by region
Using Kantar’s entertainment consumer panel it is
possible to provide a breakdown of rental transactions
by TV region, as shown in the charts above. This
breakdown differs from the retail equivalent on page 37
and as a result the figures are not directly comparable.
For example, under Kantar’s methodology Northern
Ireland is excluded from its figures although the Official
Charts Company collects these sales in its retail audit.
Despite this variation in methodology the outputs are
broadly similar. London is responsible for the greatest
proportion of rentals overall in the market, claiming
23.6% of all disc transactions in 2010. This was up
2.0% on 2009, the largest gain of any region in the
year. This was driven by increases in over-the-counter
rentals and those made via websites. In fact the
London region saw its absolute volume of transactions
rise 8.7% in 2010, an increase of 2.3 million.
84
London
Midlands
South
Lancashire
Yorkshire
Scotland
East England
Wales & West
North East
South West
5.3%
5.5%
3.3%
3.8%
10.9%
11.7%
10.2%
9.7%
8.8%
8.4%
8.2%
8.7%
7.9%
7.7%
7.6%
6.7%
15.1%
15.3%
23.6%
21.6%
2010
2009
London
Midlands
South
Lancashire
East England
Scotland
Yorkshire
North East
Wales & West
South West
4.5%
6.3%
4.3%
2.2%
7.7%
8.2%
8.7%
7.6%
7.3%
6.0%
9.3%
12.7%
9.7%
10.8%
10.1%
7.5%
13.8%
16.5%
Online disc rental 2010
24.8%
22.2%
Over-the-counter disc rental 2010
Source: Kantar Worldpanel.
Note: 2009 breakdown differs to that previously reported due to a change in methodology.
The Midlands is the second most important region to
disc rental, accounting for 15.1% of transactions in
2010, although this was down 0.2% on 2009. This
drop was entirely driven by a reduction in online
activity, while its store based share actually rose 1.6%.
Wales & West saw its share of transactions fall by more
than any other, down 0.9% to 6.7%. The Southern
region saw its proportion of disc rental fall by 0.8% to
10.9% in 2010. This was due to a reduction in its online
share which fell 2.4% in the year. Some of these
transactions may have been transferred to the
London area as people working in the capital may
have chosen to have their rentals delivered to their
place of work rather than to their home.
While the order of importance of the regions within overthe-counter
rentals remained largely in line with 2009,
the online sector saw some marked shifts. London and
the Midlands dominate activity but Yorkshire and
Lancashire has pushed the South from its place as
the third most important region to become the fifth.

Company shares – physical formats RENTAL
Company shares – total video transactions
2010
20th Century Fox
Sony Pictures
Warner
Universal Pictures
Walt Disney
Paramount
Momentum Pictures
Entertainment One
Lionsgate
Optimum Releasing
EV
2entertain
1.7%
2.9%
3.6%
3.3%
4.1%
According to Kantar’s Worldpanel, although it lost
market share this year, 20th Century Fox just
maintained its position as best-performing physical
rental distributor of 2010. It accounted for 11.9% of total
disc transactions, down 3.2% on 2009. Avatar was the
largest driver of their overall success, despite the title
performing more successfully in the retail market than
within rental, supported by Night at the Museum 2 and
Fantastic Mr Fox.
Sony Pictures was the second best-performing rental
company, claiming 11.4% of transactions, just 0.5%
behind 20th Century Fox. Its best-renting titles
included District 9, The Taking Of Pelham 123 and
the Sci-Fi Film 2012.
Warner Home Video was the third best performer
in 2010 with a number of popular rental titles. The
Hangover, Sherlock Holmes and the 2009 release The
Curious Case Of Benjamin Button all put in very strong
performances, slightly lifting Warner’s share of disc
rental from 10.7% in 2009 up to 10.8% in 2010.
4.9%
8.9%
9.5%
10.8%
10.5%
11.4%
11.9%
Source: Kantar Worldpanel.
Note: Due to a change in methodology these figures are
not comparable with those of previous Yearbooks.
There was 1.0% between fourth and fifth places, with
Universal Pictures having the edge over Walt Disney.
Universal’s best-renting titles included Couple’s Retreat
and The Invention Of Lying while Disney’s included the
Pixar animation Up, Surrogates and The Proposal.
While a value breakdown is provided for retail
company shares on page 46, this information is not
available for the rental market. In terms of a digital
rental service listings, this is being developed and the
BVA hopes to be able to provide internet company
share in conjunction with Kantar in the future.
The disc-based rental market consists of two distinct
channels, those provided in stores and those rented
online. The breakdown for each is shown on page 86.
85

RENTAL Company shares – physical formats
Universal Pictures
20th Century Fox
Sony Pictures
Walt Disney
Warner
Paramount
Momentum
Entertainment One
Lionsgate
Optimum
EV
2entertain
20th Century Fox
Warner
Sony Pictures
Walt Disney
Paramount
Universal Pictures
Momentum
Entertainment One
Optimum
Lionsgate
EV
2entertain
1.3%
3.0%
2.9%
4.1%
3.8%
3.6%
3.2%
2.8%
2.0%
According to Kantar Worldpanel, Universal Pictures
was the best renting company through traditional
rental stores (ie over-the-counter) in 2010 with a
market share of 12.4%. Its lead was a narrow one,
however, with just a 0.1% share differential between
them and 20th Century Fox, an indication of the
fierce competition this year. Universal’s top-renting
titles this year were Couples Retreat and The Invention
of Lying. While a value-share breakdown has been
provided in the retail section of this Yearbook,
comparable information is not available on rental.
4.6%
4.4%
Sony Pictures was the third best performing over-thecounter
(OTC) rental company in 2010, accounting for
11.4% of transactions. Walt Disney, meanwhile, was in
fourth place with a share of 10.3%.
In terms of discs rentals through websites such
as LOVEFiLM and Blockbuster.co.uk, there is some
variation in performance to that of the OTC channel.
Fox was the most successful online video rental
86
Company shares – over-the-counter disc rental transactions – 2010
Company shares – online disc rental transactions – 2010
5.1%
8.9%
8.83%
8.82%
8.7%
10.3%
10.0%
1 1.4%
1 1.5%
1 1.45%
1 1.42%
12.4%
12.3%
Source: Kantar Worldpanel
Note: Due to a change in methodology these figures are
not comparable with those of previous Yearbooks.
company of 2010, accounting for 11.5% of all
transactions – their share actually lower than in the
OTC market – a reflection of the increased range of
titles available online. Warner just beat Sony to second
place with a share of 11.45%. Warner's best renters
were The Hangover, Sherlock Holmes and The Curious
Case of Benjamin Button and proved popular with
online renters.
The Top 10 companies continue to account for more of
the market in the OTC channel than they do for online –
81.4% compared with 76.3%, according to Kantar. This
is largely due to the contrasting nature of their product
offerings. Websites have the ability to make available
to consumers an infinite choice of titles compared
with what is physically possible in stores. As a result
the huge video back-catalogue is opened up, hence
the longer tail of titles contributing to the online
share of their distributors. The main focus of rental
stores is New Release as they have limited space to
merchandise catalogue.

Genre shares – physical formats RENTAL
Rental share by genre – 2010 Rental share by genre – 2009
Drama 23.3%
Comedy 23.3%
Action 16.3%
According to West10 Entertainment there were 384 DVD
titles specifically released into the rental market in 2010
and 106 on Blu-ray Disc. This brings the total volume of
releases to 490 which was an increase of 65 on 2009.
By comparison there was a total of over 8,000 releases
in retail. While this indicates a wide discrepancy, the
reality is that rental benefits from additional product
sourced from the retail side of this business, when
permitted by video companies. This makes it difficult
to provide a true figure for the total number of titles
released into the rental market each year.
Focusing now on actual rental transactions in the
market, using Kantar Worldpanel data it is possible
to establish what type of content performs well. The
market is broken down into eight segments, as shown
in the pie charts above. This is in contrast to the retail
market, which is broken into six genres, as shown on
page 40. (The source of this data is different and as
such is not comparable). One of the main reasons
for the variation in genre breakdown is the fact that
rental has largely been dominated Film titles. The
genres within the rental sector are, therefore, geared
towards Film and so are more similar to the retail
breakdown shown on page 55.
Comedy 26.4%
Drama 22.9%
Action 18.0%
Children’s/
Children’s/
Family 10.0%
Family 8.8%
Thriller 8.5%
Thriller 8.2%
Horror 7.7%
Horror 6.5%
Sci-Fi 5.8%
Others 5.1%
Others 5.0% Sci-Fi 4.1%
Source: Kantar Worldpanel
Note: % share by volume. 2009 shares differ to that previously reported due to a change in methodology
Comedy tied with Drama to become the most popular
genres in rental in 2010, according to Kantar, both
accounting for 23.3% of transactions. Drama saw its
share rise 0.4% and included the titles The Hurt Locker,
Law Abiding Citizen and The Time Traveler’s Wife. The
2009 best-renting genre was Comedy and this saw its
share of the market drop 3.1%. Its best-performing Films
were The Hangover, The Proposal and The Invention Of
Lying. On the retail side of the Film market Comedies
and Dramas also dominate purchasing.
Action titles accounted for 16.3% of rental transactions,
down 1.7% and its best-performing titles included
Sherlock Holmes, The Taking Of Pelham 123 and Kick-Ass.
Children’s/Family titles claimed 8.8% of transactions
in 2009 but this rose to 10.0% in 2010, boosted by
the release of Pixar’s Up, Toy Story 3 and Alice In
Wonderland, all from Disney. Thrillers saw their market
share rise from 8.2% to 8.5% with Shutter Island and
Harry Brown the best performing titles. Horror claimed
7.7% of transactions, up 1.2% and its most popular Film
was Paranormal Activity. Sci-fi achieved the greatest
gain of any genre, up 1.7% to 5.8%. It benefitted from
the hugely popular Avatar, District 9 and 2012.
Clearly the importance of each genre is influenced by
the nature of the release schedule each year, so these
variations are to be expected.
87

RENTAL Over-the-counter disc rental chart
Kantar Worldpanel data indicates that Blockbuster’s
share of the over-the-counter market was 75% in
the year. In the absence of any retail panel data
Blockbuster is, therefore, the best source of data
on this part of the market.
According to Blockbuster, the Martin Scorsese Film
Shutter Island was the best renting title through their
stores in 2010 in contrast to the online disc market
where The Hurt Locker was the most popular. In fact,
Shutter Island was the 14th best renter online, while
it does not feature in the retail Top 20. This really
reflects the very different nature of each channel and
the variation in customer preferences. 14 titles in the
Top 20 are common to both the over-the-counter
and online disc rental channels.
88
2010 Over-the-counter disc rental top 20 – volume
Position Title Company
1 Shutter Island Paramount
2 Law Abiding Citizen Momentum
3 2012 Sony Pictures
4 Harry Brown Elevation Sales/Lionsgate
5 Couples Retreat Universal Pictures
6 The Invention Of Lying Universal Pictures
7 Sherlock Holmes Warner
8 The Book Of Eli EV
9 The Hangover Warner
10 The Time Traveller's Wife EV
11 The Ugly Truth Sony Pictures
12 The Taking Of Pelham 123 Sony Pictures
13 Green Zone Universal Pictures
14 Avatar 20th Century Fox
15 Surrogates Walt Disney
16 Up Walt Disney
Source: Blockbuster
17 The Bounty Hunter Sony Pictures
18 The Men Who Stare At Goats Momentum
19 District 9 Sony Pictures
20 Paranormal Activity Icon
Source: Blockbuster
This variation is probably due to the different product
ranges available to consumers in both outlets. Stores
have limited shelf space for product which means they
tend to focus on new releases, while websites can
display all the titles that are physically available in
the market.
Law Abiding Citizen was the second most popular title
in Blockbuster stores in 2010, followed by 2012 and
Harry Brown. Avatar, the best-selling title at retail,
was 14th in the store based chart reflecting people’s
preference to own rather than rent it.
We do not have access to transactional volumes
so it is not possible to supply these figures.

Online disc rental chart RENTAL
2010 Online rental top 20 chart – volume
Position Title Company
1 The Hurt Locker Elevation Sales/Lionsgate
2 The Hangover Warner
3 District 9 Sony Pictures
4 The Proposal Walt Disney
5 Up Walt Disney
6 The Taking of Pelham 123 Sony Pictures
7 Sherlock Holmes Warner
8 2012 Sony Pictures
9 The Time Traveler’s Wife EV
10 The Curious Case of Benjamin Button Warner
11 An Education Entertainment One
12 Law Abiding Citizen Momentum
13 Avatar 20th Century Fox
14 Shutter Island Paramount
15 The Ugly Truth Sony Pictures
16 Harry Brown Elevation Sales/Lionsgate
17 The Men Who Stare at Goats Momentum
18 Alice in Wonderland Walt Disney
19 Star Trek (XI) Paramount
20 The Bounty Hunter Sony Pictures
Courtesy of LOVEFiLM the BVA is able to provide an
online disc-based chart for 2010 which is shown in
the table above. LOVEFiLM dominates the online
sector, accounting for some 72% of transactions
through this channel in the year according to Kantar
Worldpanel. In the absence of any retail panel data
LOVEFiLM is therefore the best source for chart
information on the sector.
The Hurt Locker was the most popular title rented
through LOVEFiLM in 2010. By comparison it was the
7th best seller at retail (see page 48) while it does not
feature in the store-based rental chart on page 88.
Avatar, the best-selling title in the year, was the 13th
most rented (via the online channel) and this reflects
that consumers preferred to own rather than rent it.
This is a general trend which results in a wide disparity
between retail and rental each year. In fact just eight
titles are common to both charts, reflecting the very
different nature of consumer demand between retail
and rental.
Source: LOVEFiLM
Six of the titles in the Top 20 above were 2009
releases. One of the features of rental is that the
earlier in the year a title is released the longer it
gets to accrue transactions. This is typified in this
chart by the fact the Top 4 were all released in
2009 so had over 12 months of availability.
One title remains in this chart for a second year,
The Curious Case Of Benjamin Button.
Transactional data is not available on any of these
titles so it is not possible to provide this information.
89

RENTAL Rental market shares – physical formats
Rental market shares – 2010 Rental market shares – 2009
The breakdown of retailers within the rental sector is
very different to that of the retail market, which is
heavily dominated by grocers and the internet. Perhaps
surprisingly, supermarkets have a very limited presence
within the rental sector despite their strong link to
the overall video category. Instead the rental market
remains dominated by two key players – Blockbuster
and the online-only operator LOVEFiLM. Using data
from Kantar’s consumer panel Blockbuster achieved
a total market share of 41.0% in 2010, up 1.9% on
2009. This is a welcome boost for the company as
its dominance of the sector has been challenged
by the success of LOVEFiLM. According to Kantar
it increased its business mainly through its chain of
stores, which accounts for 87% of its share. This is
a very good performance bearing in mind that data
from the Official Charts Company (on pages 42 and 43)
indicates that Blockbuster closed 30 stores in 2010 to
add to the 78 shut during 2009. This brings its total
portfolio to 601. So in spite of streamlining its store
base it managed to increase its business, probably
helped by its marketing activities. Its online rental
service meanwhile achieved a modest gain of just 0.1%,
to claim 5.4% of total disc transactions. Blockbuster’s
US parent company filed for Chapter 11 bankruptcy
in September 2010, though it continues to trade at
the time of writing, as does the UK operation.
LOVEFiLM accounted for 37.8%, of all disc transactions
in 2010, down 0.9%. It offers a “white label” fulfillment
service for Tesco and works with WH Smith and
Amazon providing a “co-branded” offer, all of which
90
Other Online 9.5%
Convenience Stores/
Supermarkets 1.1%
All Other 0.4%
Blockbuster 35.6%
Blockbuster.co.uk 5.4%
Other Video Chains 0.5%
Independent Video Store 2.4%
Library 7.2%
Other Online 10.9%
Convenience Stores/
Supermarkets 2.0%
Newsagents 0.1%
All Other 0.3%
Blockbuster 33.8%
Blockbuster.co.uk 5.3%
Other Video Chains 0.8%
Independent Video Store 2.6%
Library 5.5%
LOVEFiLM 37.8%
LOVEFiLM 38.7%
Source: Kantar Worldpanel
Note: % share by volume. 2009 shares differ to those previously reported due to a change in methodology.
contribute to its share. In 2010 LOVEFiLM continued to
grow its subscriber base with national TV advertising
and also started a VoD/streaming service to consumers’
televisions, called Watch Now. It worked with the
hardware manufacturers Samsung and Sony to add
a pre-loaded App to their internet-connected TVs. In
addition it developed links with Playstation 3 (PS3)
offering owners an App to download that enables
LOVEFiLM users to synchronize their subscription with
the console. This effectively allows users to manage
and add to their rental list. The streaming service
generated no additional share for the company
(as the source of rental shares is based on physical
discs) but it does help to cement LOVEFiLM as a
supplier of rental titles in consumers’ minds.
Kantar indicate that the rental of discs via websites
(online) accounted for 52.7% of transactions in 2010,
such is the popularity of the channel among consumers.
They select a list of titles they like from the comfort of
their homes and the titles are delivered by post, with
no late fees. This proportion differs from that shown
on page 81 as the source of data is not comparable.
With the loss of many rental outlets in recent years
kiosks as a source of video rental might have taken
off in the UK. These are important in the market in
the USA due to the attractiveness of the “$1/night”
offer. Companies such as Movie Booth and DVD Xpress
operate in this area but this channel has not had an
impact on the UK market.

Inception available on DVD, Blu-ray, and to watch online at LOVEFiLM.com
ANOTHER DREAM YEAR
This year we’ve introduced even more ways for you to love film.
Now you can get incredible movies streamed straight to your PS3 TM
, PC or internet TV.
Or, as always, DVDs, Blu-rays and games by post.
And just wait to see what we have in store for you next year.
Thanks for your support and here’s to 2011.
LOVEFiLM, the LOVEFiLM logo and all other LOVEFiLM product or service names are trade marks of LOVEFiLM International Ltd. © 2011 LOVEFiLM UK Limited. All Rights Reserved.

RENTAL Consumer behaviour – physical formats
Proportion of GB population renting annually (%)
Total disc rental
Over-the-counter
disc rental
Online disc rental
Total disc rental
Over-the-counter
disc rental
Online disc rental
2010
2009
12.2%
Average number of rentals per person (annually)
According to new data from Kantar Worldpanel 23.7%
of the GB population, equivalent to 11.5 million people,
rented a DVD or Blu-ray in 2010. This was an increase
of over 300,000 on 2009, a welcome boost for the
market. With the average price of a store-sourced rental
being just £3.08, according to IHS Screen Digest, rental
offers an inexpensive way of seeing the latest new
releases. With the tough economic climate which still
prevails in the UK, rental therefore offers a relatively
cheap night in for people and it is possibly due to this
that the category has seen an expansion of users.
7.3 million people used a rental store in 2010 and this
was down almost half a million on 2009. The number of
rental stores has been consistently falling so this drop
is no surprise. Data from the Official Charts Company
indicates that Blockbuster, the main player in this area,
closed 30 stores in 2010, which will have limited access
to rental on high streets in certain areas during the
year. Despite this drop, however, rental stores are the
most popular way for people accessing rental discs
in the UK.
92
14.1%
15.1%
7.0
16.1%
7.7
9.2
10.4
23.1%
10.8
23.7%
Source: Kantar Worldpanel
Note: 2009 shares differ to those previously reported due to a change in methodology.
11.2
By contrast, the number of people using internet
services such as Blockbuster.co.uk and LOVEFiLM.com
to rent titles rose by 950,000, an increase of 16%
according to Kantar. Effectively, 6.8 million people
rented this way in 2010 which more than made up for
the losses seen in rental store users. Although stores,
are the most popular way for people to rent videos,
websites account for the most transactions, as
subscriptions allow customers to rent more movies.
Although the numbers of people renting in 2010 rose,
the per capita volume of transactions they made fell.
In 2009 the average number of rentals per person
annually was 10.8 titles and in 2010 this dropped
slightly to 10.4. This is not unexpected as typically
the more users there are in a market the less active
they are likely to be. Conversely, when the number of
renters falls we would expect average rentals to rise.
Interestingly, in the latest data there was a large
drop in the average number of online rentals per
person which fell from 11.2 titles in a year to 9.2.
Despite the drop this still represents one transaction
every 5 1 /2 weeks, so remains very significant.

Frequency – physical formats RENTAL
Frequency of renting 2010
Total disc rental Online disc rental Over-the-counter
disc rental
40.0%
27.6%
15.9%
10.6%
5.9%
% Renters
7.2%
15.9%
20.5%
26.1%
30.2%
% Volume
23.6%
29.2%
21.8%
16.0%
9.3%
% Renters
3.5%
11.0%
19.3%
28.4%
37.8%
% Volume
Of the 11.5 million people identified by Kantar as
renters, the largest group, 40%, were relatively light
consumers, renting between one and three times in
the year. This was actually down on 2009 when this
group accounted for 42.0% of renters. While this is
a substantial group, representing the equivalent of 4.6
million people, in reality they only represent 7.2% of
total transactions in the market. Their store-based
activity is much higher where they account for 11.2%
of volumes, however within online disc rental they
are much less important, accounting for just 3.5% of
volumes. This is by no means a bad thing as online
disc rental is largely subscription based where users
pay monthly for the service, so by default they are
likely to be more active renters.
The second biggest group is those renting between four
and 12 times a year, effectively up to once a month.
They accounted for a quarter (27.6%) of all renters,
but again they are less important to the market
overall, representing 15.9% of transactions in 2010.
43.5%
27.8%
13.7%
9.4%
5.5%
% Renters
11.2%
21.3%
21.9%
23.6%
21.9%
% Volume
Nominal (1-3)
Monthly or Less (4-12)
Up to Fortnightly (13-26)
Fortnightly Plus (27-51)
Weekly (52+)
Source: Kantar Worldpanel
Note: Due to a change in methodology these figures are not comparable with those of previous Yearbooks.
Those who rent more than once a month (13+ times)
account for 32.4% of people but 76.8% of all
transactions. This reflects just how important heavy
renters are to the market. When looking at this group
purely within the online rental side of the market,
they are even more important, accounting for 85.5%
of all rentals. This is largely due to the subscription
nature of this channel, as previously mentioned. In
fact those renting at least once a week, accounting
for 9.3% of online renters, represented four times
as many transactions (37.8%), such is their love of
the category. The wide catalogue of titles which are
available on these websites, such as LOVEFiLM, give
consumers a huge breadth of choice, helping to feed
their appetite for content. The subscription model is
ideal for these users as they can maximise the value
they get for their monthly fees.
This skew is also evident within store-based rentals
although it is not as marked. Those renting weekly
accounted for 5.5% of people but 21.9% of transactions
through this channel. The fact that rental stores have a
finite range of titles may well prevent a true comparison.
Instead stores are much more important to the lighter
renter with almost half (43.5%) of the users from
this group.
93

RENTAL Consumer behaviour – physical formats
Consumer profile of video renters – 2010
The core renters in the market are those aged 25-44
who accounted for over half (55%) of all rentals in
2010 and this is largely in line with 2009’s figure of
56.1%. In terms of online this age group is even more
important, representing 58.7% of all disc transactions.
This is in contrast to the retail market where the 25-44
group accounted for 40% of sales in 2010. Effectively,
those over 45 are more important to retail than they
are in the rental market. Those under 25 are responsible
for a similar volume of transactions at 21.5% for rental
compared with 20.7% at retail.
In terms of the variance among social groups, renting
is a more ‘up-market’ activity than video ownership.
In 2010 56.0% of transactions were made by ABC1s
compared to 51.5% of retail sales. This bias is even
more marked within online disc rental where 58.4%
of transactions were made by this group. This has
implications for the marketing communications used
94
Total disc rental
Over-the-counter
disc rental
Online disc rental
Total disc rental
Over-the-counter
disc rental
Online disc rental
Total disc rental
Over-the-counter
disc rental
Online disc rental
Total disc rental
Over-the-counter
disc rental
Online disc rental
Under 20 20-24 25-34 35-44 45-54 55-64 65-79
8.3% 13.2% 29.5% 25.5% 14.5% 5.5% 3.6%
10.4% 15.4% 27.4% 23.6% 15.0% 4.5% 3.6%
6.3% 11.2%
AB C1 C2 DE
19.9% 36.1% 25.7% 18.2%
19.7% 33.7% 27.6% 19.0%
20.0% 38.4%
Female Male
No Children Children
31.5% 27.2% 13.9% 6.3% 3.5%
39.8% 60.2%
42.6% 57.4%
37.3% 62.7%
24.0% 17.6%
67.2% 32.8%
62.7% 37.3%
71.2% 28.8%
Source: Kantar Worldpanel. Figures based on the volumes of transactions.
Note: Kantar changed their methodology in 2010 for creating these figures so this consumer profile is not comparable with other Yearbooks.
by companies like LOVEFiLM in order to reach their
target audience. The requirement for a credit or debit
card to be a subscriber may drive some of this skew.
Despite the relative affordability of rental, DEs
accounted for a relatively small proportion of demand
at 18.2%, compared with 22.4% of videos bought.
Just as in retail, males are the most active in the
rental market accounting for 60.2% of transactions
in 2010, slightly up on 2009. This bias is even more
marked within online where they represented 62.7%
of rentals. While males may actively seek out titles
and have a subscription, it is likely that some of these
are watched by others in the home.
In line with retail, rental activity is strongest amongst
people without children. This group accounted for
67.2% of transactions in 2010, and this was up 2.0%.
This bias is even marked online, where 71.2% of disc
rentals are made by this group.

HOME ENTERTAINMENT
TO CROW ABOUT

GENERAL Video Hardware
DVD, Blu-ray & VCR player sales and penetration
The chart above documents the hardware sales and
penetration of each video technology, effectively
displaying the product life cycle of each. The industry’s
newest technology, Blu-ray, saw 1.1 million standalone
players sold in 2010, up 55% on 2009 equivalent to an
additional 379,000 units. This strong level of growth
was boosted by falling prices. The average price of a
player in December 2009 was £193 and this had fallen
to £165 a year later, a drop of 14%. While these figures
reflect the overall average, some players were available
for as little as £65 in the latter part of 2010. At this
level the technology has become very affordable,
particularly for those looking for a replacement DVD
player which has no doubt helped to boost sales. IHS
Screen Digest estimates that 7.9% of households have
a dedicated Blu-ray player, double that of 2009, such
has been the demand.
Access to Blu-ray is opened up further via the
Playstation 3 console, which was in fact the first
Blu-ray compliant disc player in the market, back in
2006. According to Chart-Track 893,000 were sold in
2010, bringing their total installed base to 3.9 million.
These are treated separately by the BVA as they are
not specifically marketed as a video device. If these
are added to standalone Blu-ray players IHS Screen
Digest estimate that Blu-ray household penetration
would rise to 22%, up from 14% in 2009.
96
68.0%
79.4%
77.7%
75.8%
73.6%
71.1%
81.5% 83.4%
86.0% 88.0% 89.1% 90.0% 91.2% 91.0% 90.0%
88.0%
85.0%
6.7
44.7%
9.5
61.2%
4.8 4.7 4.7
4.2
4.4
27.8%
3.5
3.8
3.1
25.1% 3.4
2.8
2.3
2.1
1.9 2.0
2.2 2.3
2.5
2.0
2.2
12.1%
1.4
0.1%
1.0%
4.2%
0.9
7.9%
1.1
0.6 0.3 3.8% 0.7
0.7%
1.2%
1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010
VCRs DVD Players BD Players
VCR Penetration DVD Penetration
Blu-ray Penetration
71.7%
78.0%
10.1
79.8%
89.7%
86.1%
69.0%
92.1% 91.8%
42.8%
6.2
With over 90% of households owning a standalone
DVD player it is inevitable that demand for new players
has slowed. Figures from GfK indicate that 6.2 million
were sold in 2010, down 13% on 2009. This figure
incorporates sales of home theatre systems, basic
players, portables, players with integrated VCRs and
TVs. Despite what is a significant fall in sales it should
be borne in mind that over 60 million have been sold,
so the installed base is now huge. One success story
within the category has been the TV with integrated
DVD player. These offer a space-saving solution for
consumers and as such are useful for kitchens,
second rooms and bedrooms. The numbers sold
in 2010 reached 2.7 million, up 7.8% on 2009.
Clearly, PCs and laptops add to the number of
hardware devices capable of playing video, not just
DVDs and Blu-ray Discs but also digitally delivered
content. Internet-connected TVs, cable and satellite
subscription services, smart phones, tablet PCs all
add to the plethora of choice that exists today, with
the list becoming endless. Certainly the opportunities
for consumers to watch video are now vast and this
is explored further on pages 100-102.
8.4
8.6 57.0%
8.0
Source: GfK/BVA/IHS Screen Digest (Sales in millions)
Note: Historical player sales differ from those
previously reported due to revised data from GfK.
7.1

Easy to swallow,
even in tablet form
www.cueentertainment.com
info@cueentertainment.com
01580 243441

RETAIL Technology intentions and ownership
Consumer technology intentions – 2010 Consumer technology ownership – 2010
Technology has an important role to play in the
entertainment market with a constantly evolving array
of devices available. Consumers are bombarded with
choice on the next must-have gadget and technology,
but which ones do they really want? Which will be
the winners and losers? The answers to this question
are very useful and as such the BVA looks to explore
this area as part of its annual research with Kantar
Worldpanel. Some of the results of this work are
shown in the charts above.
The 2010 study found that a tablet computer is the
most desired technology in Britain today, with 7.0% of
the GB population (aged 13-79) indicating they would
like to buy one in the next 12 months. This equates
to 3.4 million people. In its first year on this list it has
topped the chart, no doubt boosted by the launch of
Apple’s hugely successful iPad. To add to this, Kantar
data indicates that 4.3% of the population claim to
own a tablet PC, equivalent to 2.1 million people. Flatscreen/HD
Ready TVs topped this list in 2009, but as
ownership has increased they have slipped to third.
The second most desired gadget is a Blu-ray player,
with 5.6% of people (2.7 million) expressing an
intention to acquire one. The number of people
98
Tablet PC
Blu-ray Player
eBook reader
HDTV/HD-Ready TV
3DTV/3D-Ready TV
Recordable DVD Player
High speed broadband
Nintendo Wii
Laptop that plays DVDs
Sony PS3
XBOX 360
In Car DVD Player
Audio only iPod/MP3
NintendoDS/Lite/DSi/DSXL
Video iPod/MP3
Desktop that plays DVDs
Broadband
DVD Player
Sony PSP
7.0%
Broadband
5.6%
DVD Player
Laptop that plays DVDs
5.0%
HDTV/HD-Ready TV
4.7%
Desktop that plays DVDs
Audio only iPod/MP3
3.5%
Nintendo Wii
3.4%
Nintendo DS/Lite/DSi/DSXL
Recordable DVD Player
3.3%
In Car DVD Player
3.1%
Video iPod/MP3
High speed broadband
2.3%
XBOX 360
1.9%
Sony PS3
PS3 Extras
1.9%
PS3 HD Connection
1.5%
PS3 connected to HDTV
Blu-ray Player
1.1%
Sony PSP
1.1%
BD HD Connection
BD connected to HDTV
1.0%
eBook reader
0.8%
Blu-ray remote control for PS3
Tablet PC
0.6%
Playstation Move
0.3%
0.3%
PS3 not connected to HDTV
3DTV/3D-Ready TV
87.3%
85.3%
67.4%
66.7%
60.9%
48.0%
42.2%
36.3%
32.7%
24.3%
24.2%
23.1%
21.5%
18.4%
18.4%
15.5%
13.7%
12.7%
11.5%
11.5%
11.1%
6.6%
4.5%
Source: Kantar Worldpanel.
4.3%
Data based on individuals
3.3%
not households.
1.8%
Note: Due to a change in
methodology these figures are
1.2%
not comparable with those of
previous Yearbooks.
owning a player, according to Kantar, now stands at
12.7% and our research clearly suggests this proportion
is likely to rise, which is very positive news for the
video industry and for future sales of Blu-ray Discs.
Please note the figures for Blu-ray ownership differ
from those reported on page 96 as they are from
different sources with different methodologies.
Although only 1.2% of the population claim to own a
3DTV in 2010, it comes fifth in consumers' list of new
entertainment devices to buy in the next 12 months,
which is encouraging for future 3D Blu-ray Disc sales.
2.1% of people expressed interest in purchasing an
eBook reader in 2009; in 2010 this has more than
doubled to 5.0%, making it the third most desired
technology. The launch of a new generation Kindle by
Amazon, unofficially called “Kindle 3”, which offers 3G
and Wi-Fi connectivity, has probably boosted demand.
6.6% of the population (3.2 million) claims to own an
eBook reader to date.
Despite 42.2% (20.5 million) of people owning a Wii it
still remains the most popular games console desired
in Great Britain currently. 3.1% of people (1.5 million)
intend to purchase one in the next 12 months compared
to 1.9% (or 920,000) wanting a PlayStation 3 (PS3).

3D insight GENERAL
Compared to my expectations,
the 3D viewing experience was…
3D much better
than expected
3D better
than expected
3D as expected
3D worse
than expected
3D much worse
than expected
4.3%
11.0%
16.4%
30.9%
37.4%
Consumers’ appetite for 3D continued to grow in 2010
as the number of theatrical releases available reached
28, double that of 2009, according to the UK Film
Council. Alice In Wonderland, Shrek Forever After – The
Final Chapter, Toy Story 3 and Clash Of The Titans (2010)
were just some of the Films released in 3D. Pleasingly,
while the number of Films available rose by 100%, the
number of people actually claiming to have viewed
3D at the cinema also doubled, according to research
carried out by Kantar Worldpanel for the BVA. This
study showed that 57.5% of the GB population claimed
to have seen 3D with 51% seeing it at the cinema.
Interestingly, we have also seen the emergence of
people viewing 3D in other areas such as in stores,
pubs and in homes, as the technology has become
more widely available. These people tended to be
younger males (under 35) and in full-time work,
according to Kantar.
Reassuringly, for those who have seen 3D the evidence
indicates they are impressed with it. The research found
that 47% of people who have seen the technology
thought the viewing experience was better than
expected and 37% indicated it was in line with what
they had anticipated.
This positive consumer experience has encouraged
the take-up of the technology in terms of buying
3D TVs, the sales of which have been very buoyant.
GfK indicate that 125,000 3D TVs were sold in Britain
in 10 months of 2010. Although this represents just
1.3% of total TV sales, it is a very significant number
bearing in mind the average price of each was over
£1,000. To give some perspective to these figures, it
took three years for annual sales of widescreen TVs
to exceed 30,000. By December 2010 3D TV sales
accounted for 3.4% of all televisions sold, reflecting
the mounting interest there is to own the technology.
Do you intend to buy a 3D TV?
7%
Total
respondents
10%
Seen 3D
at cinema
23%
Seen 3D
in pub
14%
Seen 3D
store demo
20%
Seen 3D at
someone’s
home
Source: Kantar Worldpanel
Its adoption has also been boosted by broadcasters
beginning to air 3D programming – Sky launched a 3D
channel in October 2010 starting with live Ryder Cup
coverage. The fact viewers have to wear glasses to
watch 3D in the home does not appear to be putting
people off which is supported by the findings of the
BVA’s 2009 research study.
Kantar indicate that those who have bought a 3D TV
to date are young couples and families from higher
social groups (ABC1s). They are very “tech savvy”,
with 75% claiming to keep up-to-date with the latest
technology – 77% owning a Blu-ray player and 30%
owning an iPad. Using Kantar’s consumer panel data
we are able to identify that 3D TV owners spend more
than double on video purchasing than the average,
suggesting that these early adopters may well be
interested in buying 3D discs.
As part of our research study with Kantar the BVA
wanted to understand what drives people to consider
buying a 3D TV and the results show that, of those
expressing an interest, 68% said it was to watch sports
programming, 66% to watch 3D Blu-ray Discs and 53%
to experience 3D gaming. Unsurprisingly, the level of
interest in buying into 3D increases dramatically once a
person has seen it, particularly among those that have
seen it outside the cinema. For example 23% of people
who have seen 3D in the pub indicated they plan to buy
a 3D TV, compared with 10% among those who have
seen it at the cinema.
The evidence from both GfK and Kantar bodes well for
the future of 3D as a format not just for the cinema
but also to be enjoyed in the home. 2011 will be an
interesting year for this fledgling format.
99

GENERAL How consumers are accessing content
Growth in TV screen sizes
As we enter the second decade of the 21st century,
the possibilities for consumers to access audio-visual
content are expanding at a fast rate. The traditional
method of consumption – the TV and DVD player –
has given way to a myriad of options which make
for exciting times within the video software industry.
High definition and 3D TVs, set-top boxes, satellite
and cable, Blu-ray players, smart TVs and smart
phones, iPads, computers, laptops are all enablers
helping consumers watch content anytime, anyplace,
anywhere. This is facilitated by the internet which
opens up an array of new digital services to add to
physical discs (DVD and Blu-ray) that are synonymous
with the industry.
Working with GfK we are able to look at some of these
technologies and how they are currently changing
society and the way we consume content.
The TV evolution
The TV has traditionally been at the heart of audiovisual
viewing. At the start of the decade TV sales
averaged around 5 million units per annum. However,
by the close British consumers were buying nearly 10
million sets per year. Much of this has been driven by
100
millions
10
8
6
4
2
0
5.9
0.2
2.1
1.2
6.2
0.4
2.2
1.2
6.9
0.9
2.4
1.2
2.4 2.4 2.4
1.8
2.9
0.9
3.0
2004 2005 2006 2007 2008 2009 2010
Superlarge (33’’+) Large (26’’-32”) Medium (20”-25”) Small (Up to 19”)
8.5
9.1
2.5
2.8
0.9
2.9
2.5
2.8
the desirability of flat-screen TVs. In fact the flat TV
market in Great Britain has grown far faster than in
other key markets within Europe. 43 million flat TVs
have been sold in GB in the last 7 years, which has
helped multiple TV ownership to become a more
common occurrence. The fastest growth in 2010 has
been for medium screen sizes (20-25”) and for the
largest sizes, 40” and above. The smallest sizes have
seen significant declines as consumers have found
that the extra cost of buying a slightly larger set has
become less significant. This evidence suggests that
the main room of the house is rapidly becoming a
40”+ area. This makes for a much enhanced
viewing experience.
The second set market has become dominated by
another space saving phenomenon – the flat TV with
integrated DVD. Whilst other DVD player types have seen
volume declines due to the high household penetration
levels on the format, the TV/DVD Combi has gone from
strength to strength. In 2010 almost 2.5 million TV/DVDs
were sold, a quarter of total TV volumes. This segment
is likely to continue to grow as the preferred way to
get content to kitchens and bedrooms, without an
additional hardware footprint, at an affordable price.
9.9
3.2
1.5
9.5
2.9
2.9
1.8
1.9
Source: GfK

How consumers are accessing content GENERAL
Flat TV sales in UK are far ahead of the rest of Western Europe
45.0
40.0
35.0
30.0
25.0
20.0
15.0
10.0
5.0
0.0
17.4
25.3
4.8
23.3
19.5
High Definition – the future for viewing content
The trend for larger TV screen sizes has been
accompanied by a shift to a full High Definition
(1080p) environment in the main room of the home.
So far over 8 million full HD-TVs have been sold in
the UK. However, a further 32 million HD-Ready
(720p) screens have also been sold.
Blu-ray players give consumers the chance to watch the
best quality hi-def content and UK sales have reached
over 2 million to date, half of which were sold in 2010
alone. Player prices have fallen dramatically, stimulating
demand, with GfK quoting December 2010 average
prices of £165 compared with £193 in December 2009.
Blu-ray Home Theatre kits saw the biggest rise in
demand in 2010, more than doubling those of 2009,
reflecting the push to recreate the cinema experience
in the home. In addition over 1 million Blu-ray players
are BD Live enabled, through which the user can
expand the possibilities for accessing additional
content once connected to the internet.
PlayStation 3 adds to the installed base of hi-def
players, with total sales since launch of 3.9 million,
according to Chart-track. These along with the
increase in TV screen sizes makes for a heightened
viewing experience which offers new opportunities
for content owners.
7.3
GB Germany France Italy Spain Netherlands
Small Flat TV Sales Large Flat TV Sales
9.9
13.5
7.1
11.8
Internet connectivity becoming the norm
The power of the internet and the myriad of services it
opens up has been seized upon by the entertainment
hardware industry with a string of new products now
available to consumers. As shown on page 102, internet
connectable devices in Q4 2010 have increased their
market share significantly, despite a relatively short
period of availability. 75.4% of Blu-ray players sold in
Q4 2010 were web-enabled. This drops to 13.9% for
internet-connected TVs but in absolute terms some
1 – 2 million of these have been sold since launch,
compared to 570,000 Blu-ray players. However, to say
sales of internet-connected devices have increased
doesn’t tell the whole story. What is not clear is how
many of these devices are actually being connected.
Just because the product has the feature doesn’t
mean that it is being fully utilised. It may also be that
the consumer is unaware of the benefit or even how
to use the additional content being packaged with
their new purchase. There will be some work needed
to help inform users of the benefits of connecting to
the internet.
1.6
5.9
Source: GfK
(Flat TV sales 2004-2010 millions cumulative)
101

GENERAL How consumers are accessing content
Video entertainment on-the-move
(smart phones and tablet computers)
In the 24-hour world that we live in and increasing
demands on people’s time, the desire to consume video
entertainment away from the home and on the move
has become an increasing reality. This was first fulfilled
via DVD portable players and laptop developments.
Technological advances have allowed faster processing
and connectivity, storage and compression to occur,
enabling entertainment to be delivered to mobile
phones and in particular smart phones. These should
in fact be more regarded as handheld computers
integrated with a mobile phone and include brands
such as Blackberry, Samsung and Apple’s iPhone. GfK
indicate that there were more than 11 million smart
phones sold in 2010, up 133% on 2009. They offer
another opportunity to content providers to develop
and market exciting programming which suits this
smaller screen device.
Similarly, tablet computers add to demand for
entertainment on-the-move especially following the
launch of the highly successful iPad from Apple in April
2010. This has been specifically developed as a platform
for entertainment media including movies, books, music,
games and web-browsing. It represents another
102
Number of connected mobile devices on the increase
units (millions)
23.5
0.6
27.4
1.1
27.7
6.6
1.7
7.8
2.8
8.2
4.2
7.1
5.8
6.6
6.3
5.1
6.4
2005 2006 2007 2008 2009 2010
Q4 2009 Q4 2010 Q4 2009 Q4 2010 Q4 2009 Q4 2010 Q4 2009 Q4 2010
2.0
30.2
Internet capable devices growing rapidly, especially Blu-ray
4.9
26.6
Set top box Flat TV Total DVD Blu-ray
7.6%
13.9%
3.7%
13.9%
5.4%
20.7%
28.4%
92.4%
86.1%
96.3%
86.1%
94.6%
79.3%
71.6%
0.6
11.4
20.3
75.4%
24.6%
Web books
Smart phones
Mobile phones
Portable media
player
Mobile PC
Web content
access
No web content
access
Source: GfK
avenue for delivering content to consumers. It remains
to be seen how mobile video content consumption will
develop as in the past consumers have shown strong
preference for bigger screens but certainly gaming,
social networking and internet shopping are already
being profoundly affected by these device trends.
3D – A promising beginning
In 2010 we saw the introduction of 3D technology,
providing the user with new visual functionality which
has to be seen to be fully appreciated. Despite an
average price in excess of £1,000 for a 3D TV, starting
at 40” screens, sales have reached over 125,000 in
the 10 months since launch. While 3D accounted for
just 1.3% of the volume of TV sales in 2010, in December
this was up to 3.4%, with the value share above that
at almost 13%. The technology has the capacity to
revolutionise multiple sectors, from hardware to
publishers to programme makers. Consumer appetite
for 3D in the home is reflected in the strong demand
already being shown, despite limited availability of 3D
content. It should be pointed out that 3D is an extension
of the high definition proposition, rather than competing
with it. (Further 3D insight on page 99)

Leisure spending GENERAL
Leisure spending – 2010
Cable and
satelite subscription
TV Licence
Internet
subscriptions
Video
Entertainment
Games
Music
Cinema
£1.1bn
£1.2bn
£1.0bn
£0.9bn
£1.5bn
£1.7bn
Video spending breakdown (£millions)
2010
2009
£3.1bn
£2.9bn
£2.7bn*
£2.7bn
£3.6bn
£3.5bn
Physical retail Physical rental On-line retail
On-line rental On-line subscription TV based VoD
£6.4bn
£5.8bn
Source: IHS Screen Digest/UK Film Council
Note: Some 2009 figures may vary from those reported in the 2010 Yearbook due to more complete data availability and/or methodological revisions
Excluding the obligatory TV licence, video is the third
largest entertainment sector in the UK according to
IHS Screen Digest analysis. In 2010, cable and satellite
TV subscriptions again accounted for the biggest
share of total leisure spending at £6.4 billion, up
11.0%. Subscription to internet service providers
(ISPs), included here for the first time, increased
6.2% to £3.1 billion having surpassed spending on
video entertainment in 2009.
Video includes all physical formats, whether owned or
rented, as well as digital content accessed by title via
cable or satellite television or online. In contrast with
other pages in the Yearbook, this section* also includes
sports and event programming available through some
video services. Online and TV Video-on-Demand (TV
VoD) involves content located on a server that can be
paid for and accessed by consumers at any time, but
to which they then only have access for a limited time.
VoD providers include Virgin, BT Vision and TalkTalk.
Pay-per-View (PPV) and Near Video-on-Demand (NVoD)
services also allow users to access a single title at a
time, but the time of viewing is pre-set by the provider
– Sky in the UK – not chosen by the consumer. Online
retail, known as DTO or EST, allows consumers
to keep the purchased content indefinitely. Combined
consumer spending on all forms of video declined
0.6% to £2.659 billion in 2010.
Consumer spending on video games fell to £1.532
billion in 2010, a year–on-year decline of 8.9%.
2010
2009
This was despite a strong release slate that included
titles such as Red Dead Redemption, Call of Duty: Black
Ops and Gran Turismo 5 and reflects the fact that the
market for games software is largely driven by games
console launches rather than the title release slate.
As the current generation of consoles ages, sales
of software naturally fall away in what has become
a regular and anticipated sales cycle. The decline
in software sales for Nintendo’s Wii platform was
particularly evident in 2010, a direct result of the
console’s previous phenomenal success.
Physical and digital music (not including streamed
music rental subscriptions or mobile personalisation)
declined for a sixth successive year, falling 5.9% to
£1.149 billion in consumer spending.
In contrast UK consumer spending on cinema tickets
increased 5%, almost reaching the £1 billion mark.
Box-office revenues, whilst clearly linked to the
strength of each year’s film release slate, generally
increase in line with inflation as ticket prices gradually
rise. However, in recent years the sector has received
a considerable boost from the increasing number and
popularity of 3D films. The 3D showings of a film
command a higher ticket price than 2D equivalents,
pushing average prices ahead of the inflationary
curve. Unsurprisingly, many of the top films of 2010
such as Fox’s Avatar (released December 2009 in the
UK), Disney’s Alice in Wonderland and DreamWorks’
Shrek Forever After were shown in 3D.
103

GENERAL Employment
The BVA calculates that the number of people
employed in the UK video industry has fallen to
approximately 19,130. The majority of these are
employed in the retail/rental of video through high
street shops, supermarkets, rental stores and various
digital services. There have been many store closures
in recent years including the loss of Woolworths, Zavvi,
Borders, Fopp, Tower Records, Choices etc which have
inevitably brought down these figures. No major chains
closed in the year although the small number of HEAD
stores that opened following the closure of Zavvi also
went into administration. Despite these losses demand
for content has largely remained unaffected as video
companies have worked hard to extend the availability
of DVDs and Blu-rays into a wider range of stores and
websites. The introduction and growth of TV-based
and internet delivered digital services continues to be
reflected in the growth of new companies and websites.
The grocers continued to extend video into more of
its stores in 2010 and in particular into their small high
street outlets with both Tesco Express and Sainsbury’s
Local offering product from time to time. While this
is very welcome news it does not necessarily add any
dedicated employees to the video market. HMV’s store
base rose from 273 to 287, although they have now
reported anticipated store closures in 2011, while
WH Smith store numbers rose from 464 to 523.
The US rental store Blockbuster filed for Chapter 11
bankruptcy in September 2010 although it continues to
trade. In March 2011 it was in talks to sell its European
104
Employment in the video industry – 2010
Retail video outlets 8,000
Digital 1,200
Physical distribution 800
Publishers & marketing etc 730
DVD Replication 450
DVD Authoring 300
Box makers, printers 650
Video rental outlets 7,000
Total estimate 19,130
Source: BVA estimates
operations but no details on this were available at the
time of writing. The UK part of the business started
the year with 631 outlets and ended 2010 with 601,
according to OCC and with this the numbers of staff
allocated to rental continues to fall. The development of
online rental services has been a growth area for rental
but any staffing gains made cannot compare to the
staffing levels of running a high street chain of stores.
The continuing recession in the UK economy during
2010 had a knock on effect on video distributors/
publishers and their marketing services. Many
companies have re-structured and reduced the
numbers employed in the video divisions of film
and television companies, while some independent
distributors had already tightened their belts.
A positive trend for employment has been in the
digital side of the business. As this part of the
market has grown so have the numbers employed
by companies who service this sector of the video
entertainment industry, such as authoring, production
and manufacturing facilities. In all the BVA estimates
that digital delivery adds approximately 1,200
employees to the market. Replicators and printers
are also more closely involved in providing new
digital services to video publishers.
It is estimated that there has been little change on
the physical distribution of product, with a number
of new companies having replaced the functions of
Entertainment UK since it closed in 2009.

APOLLO CINEMAS
redefi ning the cinema experience and setting
a new benchmark in the entertainment sector.
Apollo Cinemas are delighted to host the BVA Research Day
at Apollo Piccadilly, and to be working in association with
Europe’s longest running and best loved video conference.
We can host...
presentations
screenings
For more information, email or call
5 screens ranging from an intimate
40 to a spacious 168 seats
Sony 4K digital, RealD 3D and satellite
enabled technology.
Fully licensed bar, lounge and screens

GENERAL Cinema
Cinema admissions (millions)
1995
1994
1993
1992
1991
1990
1989
1988
1987
1986
1985
70 73 75 78
88 89 93 98
UK box office top 10 – 2010
UK gross box-office takings in 2010 reached £988.3
million, up 5% on 2009. This increase was driven
by a rise in average ticket prices, as the number of
visitors actually fell slightly, down 2% to 169 million.
The FIFA World Cup was a factor that affected
cinema-going, just as it was an issue for video
purchasing. In all, attendances fell 30% in June,
their biggest fall of the year. Distributors planning for
the potential impact of the event avoided releasing
major titles during this time which exacerbated the
drop. Once England bowed out of the competition
earlier than expected, however, interest in cinema
going was reignited with admissions rising 1% in July.
Toy Story 3 was the most popular theatrical title of
the year and became the second highest-grossing
film of all time, behind Avatar, with earnings of
almost £74 million. This performance helped the
value of the combined Top Ten rise some 8% to
£347 million, negating the fall seen in 2009.
The penultimate film in the Harry Potter series Harry
Potter And The Deathly Hallows Part One was in second
place with a gross box-office of just over £52 million
and Tim Burton’s 3D version of Alice In Wonderland
earned over £42 million in the year.
Avatar does not feature in the list of best-performing
films in UK cinemas in 2010 as it was released in 2009.
106
113 124 115 123
157
176
167
171
165
157
162 164
139 135
140 143
174 169
1996
1997
1998
2010
2009
2008
2007
2006
2005
2004
2003
2002
2001
2000
1999
Pos. Title Distributor Country Box office Theatrical DVD Release
of Origin Gross Release Date Date
Takings
1 Toy Story 3 Walt Disney Studios USA £73.8m 23 July 2010 22 November 2010
2 Harry Potter And The Warner Bros UK/USA £52.4m 19 November 2010 11 April 2011
Deathly Hallows Part One*
3 Alice In Wonderland Walt Disney Studios USA £42.5m 5 March 2010 4 June 2010
4 Inception Warner Bros UK/USA £35.8m 16 July 2010 6 December 2010
5 Shrek Forever After Paramount USA £32.4m 2 July 2010 6 December 2010
6 The Twilight
Saga: Eclipse eOne Films USA/Can £29.8m 9 July 2010 6 December 2010
7 Sex And The City 2 Warner Bros USA £21.7m 28 May 2010 29 November 2010
8 Iron Man 2 Paramount USA £21.2m 30 April 2010 25 October 2010
9 Clash Of The Titans (2010) Warner Bros UK/USA £20.2m 2 April 2010 26 July 2010
10 Despicable Me* Universal Pictures USA £19.9m 15 October 2010 21 February 2011
Source: Rentrak EDI/UK Film Council/Official Charts Company
*The gross takings of these films will grow further as they were still being exhibited in 201 1 .
It actually grossed £53 million in 2010, effectively
making it the second most popular title of the year.
This means that in total it has taken £94 million in
UK cinemas, which makes it the best-performing
theatrical title of all time. Due to the timing of its
release (December 2009), however, it has never
topped the chart above.
While the World Cup depressed cinema-going, the
dismal wet Summer weather helped drive footfall
during the school holidays. This culminated in the
third quarter seeing visitor numbers up 12%. Quarter
four, however, was disappointing, down 14% due in
part to the two bouts of snow which prevented
people from physically getting to their local cinema.
The development of digital 3D in cinemas had a major
impact on the box-office in 2009 and this continued
to build during 2010. There was a total of 28 3D films
released, grossing £237.4 million and accounting for 24%
of the total theatrical market, up from 16% in 2009. The
best-performing of these was Toy Story 3 which earned
72% of its total gross in 3D. Other titles in the Top Ten 3D
list were Alice In Wonderland achieving 76% of its gross on
3D, Shrek Forever After (67%), Clash Of The Titans (77%),
Despicable Me (71%), How To Train Your Dragon (72%),
Streetdance 3D (95%), The Chronicles Of Narnia: The Voyage
Of The Dawn Treader (68%) and Gulliver’s Travels (68%).

Cinema GENERAL
UK box office top 10 UK films – 2010
Pos. Title Distributor Country Box office Theatrical DVD Release
of Origin Gross Release Date Date
Takings
1 Harry Potter And The
Deathly Hallows Part One
Warner Bros UK/USA £52.4m 19 November 2010 11 April 2011
2 Inception Warner Bros UK/USA £35.8m 16 July 2010 6 December 2010
3 Clash Of The Titans (2010) Warner Bros UK/USA £20.2m 2 April 2010 26 July 2010
4 Nanny McPhee
And The Big Bang
Universal Pictures UK/USA £16.5m 26 March 2010 19 July 2010
5 Robin Hood Universal Pictures UK/USA £15.4m 14 May 2010 20 September 2010
6 Gulliver’s Travels* 20th Century Fox UK/USA £15.0m 31 December 2010 16 May 2011
7 The Chronicles Of Narnia:
Voyage Of The Dawn Treader*
20th Century Fox UK/USA £14.0m 10 December 2010 18 April 2011
8 Streetdance 3D Vertigo Films UK £1 1 .6m 21 May 2010 27 September 2010
9 Kick-Ass Universal Pictures UK/USA £1 1 .6m 2 April 2010 6 September 2010
10 Prince Of Persia:
The Sands Of Time
Walt Disney UK/USA £8.9m 21 May 2010 13 September 2010
UK box office top 10 UK films – all time
Pos. Title Distributor Country Box office Theatrical DVD Release
of Origin Gross Release Date Date
Takings
1 Mamma Mia! Universal Pictures UK/USA £69.2m 11 July 2008 24 November 2008
2 Harry Potter And The
Philosopher’s Stone
Warner Bros UK/USA £66.1m 16 November 2001 11 May 2002
3 Casino Royale Sony Pictures UK/USA/Cze £55.6m 17 November 2006 19 March 2007
4 Harry Potter And The
Chamber Of Secrets
Warner Bros UK/USA £54.8m 15 November 2002 11 April 2003
5 Harry Potter And The
Deathly Hallows Part One
Warner Bros UK/USA £52.4m 19 November 2010 11 April 2011
6 The Full Monty 20th Century Fox UK/USA £52.2m 29 August 1997 3 March 1998
7 Quantum Of Solace Sony Pictures UK/USA £51.2m 31 October 2008 23 March 2009
8 Harry Potter And The
Half-Blood Prince
Warner Bros UK/USA £50.7m 17 July 2009 7 December 2009
9 Harry Potter And The
Order Of The Phoenix
Warner Bros UK/USA £49.9m 13 July 2007 12 November 2007
10 Harry Potter And The Warner Bros UK/USA £49.2m 18 November 2005 20 March 2006
Goblet Of Fire
Source: BVA
Source: Rentrak EDI/UK Film Council/Official Charts Company. *The gross takings of these films will grow further as they were still being exhibited in 2011.
Saw, which was the ninth best performing 3D film,
was only available in a 3D version so derived all its
revenues from the technology. With the growth in
3D screens across the country and the clear demand
for the enhanced film experience, the technology
is expected to go from strength to strength.
Harry Potter And The Deathly Hallows Part One was the
most popular British film of 2010, mirroring the success
of other releases from the series. The contribution
of British films to cinema rose in importance in 2010,
accounting for 22.6% of takings, compared with 16.7%
in 2009. Despite the rise, this was still down on the
average of 24% for the decade. There is a fluctuating
pattern in the market-share achieved by British film
as it is based on a small number of high-grossing
titles. Inward investment by US studios is crucial
as co-funded films featuring British cast, crew,
locations, facilities, post production and often UK
source material, accounted for 17% of the 2010 boxoffice.
Independently financed British films took a
5.5% share of the UK box-office in 2010, down from
8.2%. The impact of British films is also affected
by a small number of strongly performing titles.
Mamma Mia! – The Movie remains, for a third year, the
highest-grossing British film of all time with a boxoffice
of £69.2 million. There was one new entry to
this listing with Harry Potter And The Deathly Hallows
Part One becoming the fifth most popular British film
ever at cinemas. With this new entry The Dark Knight
has slipped out of this chart into 11th place. The
popularity of Harry Potter is plain to see, with six out
of the seven titles from the franchise in the Top 10.
The only one missing is The Prisoner Of Azkaban
which lies in 12th place.
107

GENERAL USA & Europe
Consumer spending on physical & digital video USA v Europe
Total spend
The US video market experienced a fourth successive
year of decline in 2010, with total consumer spending
on video entertainment, in all its forms, falling 3.0% to
$19.7 billion, according to IHS Screen Digest. As always,
changes in exchange rates affect the comparison with
the European market. When 2010 US data is converted
into Euros using current annual exchange rates, the
value of the US market appears to have grown in 2010,
up 1.9% to ¤14.9 billion.
This discrepancy illustrates one of the hazards of
comparing the value of international markets. The
situation can be avoided by using a constant Euro
exchange rate (in which case the decline in Euros
is also 3.0%). Thus for ease of comparison a fixed
exchange rate has been used in the commentary below.
The US video entertainment market is radically
different to that of Europe in a number of key areas;
video consumption per person is far higher, physical
rental is more popular (accounting for 46% of all
consumer spending) and the adoption of both digital
delivery mechanisms and Blu-ray is more advanced
as a result of earlier launches in the territory.
American consumers spent $8.2 billion (¤6.2 billion) on
DVD in 2010, 16% less than in 2009. DVD volumes also
declined, albeit more slowly, down 13% to 644 million
units. Consumer retail spending on Blu-ray Disc grew
64% in 2010, just 7.5 percentage points short of the
108
20.4
-3.0%
USA
2009
19.7
14.3 13.8
-3.4%
Europe
14.6
1.9%
Spend by format and channel (¤bn)
USA EUROPE
1.5
4.9
0.2
0.4
1.7
4.7
0.4
0.5
1.2
0.1
0.7
0.1
0.6
0.8 1.3
7.9
7.4
6.2
Retail DVD
$
Retail BD
MILLION
2010
Digital retail
Physical rental
USA
2009
14.9
TV VoD
MILLION
10.5
-0.8%
Europe
1.1
0.9
7.3
2010
Digital rental
10.4
2009
2010
0.1
0.8
format’s growth the previous year and brought US
consumer BD sales to $1.8 billion (¤1.3 billion). Digital
video retail (EST/DTO) accounted for $0.6 billion (¤0.5
billion), up 27% on 2009.
The year was one of great turmoil for the US rental
market. Rental kiosk (vending machine) operators
Redbox and NCR both increased their presence in
the market, with kiosks now operating in over 31,000
US locations. The format is very popular, driven by its
“Dollar A Night” business model. Traditional US bricksand-mortar
rental giant Movie Gallery, second only to
Blockbuster in terms of store base, filed for bankruptcy
and closed. By the end of the year Blockbuster too had
filed for Chapter 11 bankruptcy protection. At the time of
writing the rental chain continued to trade. In addition,
Netflix, the pioneer of the physical rent-by-mail business,
stated that its subscribers now consume more titles
through digital streaming than on physical disc.
Despite the turbulence in the market, US consumer
spending on video rental in all its forms increased by
1% to $9 billion (¤6.8 billion) in 2010. It was boosted
by a strong performance on digital rental and TV
VoD increased from $2.5 billion (¤1.9 billion) in 2009
to $2.8 billion (¤2.1 billion). This sector accounted for
31% of all rental spending in the US during the year.
Consumer spending on physical rental declined 4.5%
to $6.2 billion (¤4.7 billion) in 2010.
0.1
Source: IHS Screen Digest

GENERAL Ireland – physical formats
2010 video top 10 – Irish
Volume
2010 was another difficult year for the Irish economy.
It remained in recession and such was the severity of
its public finances it needed a bail out by the European
Union. Unemployment rose and the migration of young
people out of the country to find work resumed after
the boom years of the Celtic Tiger. In the face of this,
consumer confidence dropped to a score of 44.4 by
December 2010, having started the year at 64.6 (source:
KBC/ESRI Consumer Sentiment Index). Low European
Central Bank interest rates of 1.0% offered some help
and with this consumer spending rose 0.9% but from
a low base, having fallen 14.0% in 2009 to add to the
4.5% drop seen in 2008. In the face of this tough
economic climate, funds for discretionary spending
were inevitably hit and with this demand for physical
videos consequently fell by 19.0% in volume and
21.6% in value. In all 11.2 million units were sold
across DVD and Blu-ray in the year, making the
market worth ¤119.7 million.
110
Pos Title Company
1 Avatar 20th Century Fox
2 The Twilight Saga: New Moon Entertainment One
3 The Hangover Warner
4 Toy Story 3 Walt Disney
5 Up Walt Disney
6 Alvin And The Chipmunks:
The Squeakquel
20th Century Fox
7 Alvin And The Chipmunks 20th Century Fox
8 The Twilight Saga: Eclipse Entertainment One
9 Sex And The City 2 Warner
10 The Hurt Locker Elevation/Lionsgate
1 1 2012 Sony Pictures
12 Inception Warner
13 Gran Torino Warner
14 Sherlock Holmes Warner
15 Dara O’Briain –
This Is The Show
Universal Pictures
16 Inglourious Basterds Universal Pictures
1 7 Alice In Wonderland Walt Disney
18 It's Complicated Universal Pictures
19 Shrek: Forever After –
The Final Chapter
Paramount
20 Marley & Me 20th Century Fox
2010 video top 10 – Irish
Value
Pos Title Company
1 Avatar 20th Century Fox
2 The Twilight Saga: New Moon Entertainment One
3 Toy Story 3 Walt Disney
4 The Pacific: Complete Series Warner
5 Up Walt Disney
6 The Twilight Saga: Eclipse Entertainment One
7 Alvin And The Chipmunks:
The Squeakquel
20th Century Fox
8 Inception Warner
9 Sex And The City 2 Warner
10 Gift Grub Live – Grand
Canal Theatre
EMI Music
1 1 The Hangover Warner
12 Family Guy: Season 9 20th Century Fox
13 Harry Potter: Years 1-6 Warner
14 Beauty And The Beast Walt Disney
15 Alice In Wonderland Walt Disney
16 Shrek: Forever After –
The Final Chapter
Paramount
1 7 Dara O’Briain –
This Is The Show
Universal Pictures
18 2012 Sony Pictures
19 Sherlock Holmes Warner
20 The Hurt Locker Elevation/Lionsgate
Source: GfK/Chart-Track/BVA
DVD dominates the Irish market, accounting for 97%
of physical volume sales and 95% of value. In all 10.9
million DVDs were sold in 2010, down 19.9%, making
the format worth ¤113 million, down 23.5%. In the
tough trading climate of 2010 demand for Blu-ray was
pleasing as volumes grew 45%, compared with 55%
in the UK, reaching a total of 291,000 units sold.
This made the format worth ¤6.5 million, up 41%.
While Sterling strengthened against the Euro during
2010, it is believed that some purchases continued to
be made from UK retailers in Northern Ireland and via
British websites. These sales are not counted by GfK
Chart-Track (the source of Irish video sales). Another
factor affecting performance was the fact that 2009
was a 53-week year compared with 52 in 2010. GfK
Chart-Track is reporting a like-for-like trend of -15.4%
which does reduce the losses to some extent.
If the UK and Irish markets were combined Ireland
would represent 4.8% of total volumes sold compared
with 5.4% in 2009. This marks the first drop since the
BVA starting reporting on Ireland in 2006.

Ireland – physical formats GENERAL
Company shares – total video 2010
Volume Value
14.9%
13.9% 13.8%
20th Century Fox
Universal Pictures
Warner
11.8%
Walt Disney
8.4% 7.6%
Paramount
5.1%
Sony Pictures
Elevation
3.0% 2.8% 2.7%
EV
Entertainment One
Momentum
15.1% 15.0%
Shares by genre – 2010
Volume Value
Film 64.6%
Sport & Fitness 1.5%
TV 11.1%
Children’s 18.3%
Special Interest 2.4%
Music 2.1%
While there was DVD deflation of 4.5%, this was on
top of the 22% reduction in prices seen in 2009.
Both video distributors and retailers continued to
drive demand by making the format the cheapest
it has ever been for consumers. The average price
of a DVD was ¤10.41, down ¤0.48, while Blu-ray
achieved an average of ¤22.18, down 2.9%.
Just as in the UK, Avatar was the best-selling title in
Ireland in 2010 selling 107,000 copies, 19% of which
were on Blu-ray Disc. There remains a marked
variation between the UK and Irish list of best-selling
titles, with just 10 common to both within the Top 20
Chart (in volume). Unusually there was no local or Irishbased
product in the volume Top 10 chart in the year,
although one title made it into the value equivalent,
shown for the first time, Gift Grub Live – Grand Canal
Theatre. The highest placed local title in volume was
Dara O’Briain’s This Is The Show in 15th place.
Children’s product continued to be more important in
the Irish market in the year, accounting for 18.3% of
Warner
12.4% 12.3%
20th Century Fox
Universal Pictures
Walt Disney
7.7%
6.4%
Paramount
4.6%
3.9% 3.6%
2.4%
Sony Pictures
Elevation
2entertain
Music 2.8%
Momentum
Entertainment One
Film 53.1%
Sport & Fitness 1.9%
TV 22.7%
Children’s 16.0%
Special Interest 3.5%
Source: Chart-Track/BVA
volume compared to 14.4% in the UK. Family-based
titles have tended to perform relatively better in
Ireland, with both Alvin And The Chipmunks releases
featuring in the Top 10 for instance, while they were
the 16th and 30th best-sellers in the UK. Noticeably
absent from the Irish Top 20 are the family titles
Harry Potter And The Half Blood Prince and Nanny
McPhee & The Big Bang, which achieved 42nd and
25th place respectively.
20th Century Fox remained the best-selling video
company for a second year, claiming 14.9% of all
volumes sold, although this was down on the 16.6%
it achieved in 2009. In terms of value, however, it
narrowly missed the top spot which was taken by
Warner Home Video who claimed 15.1% of retail
sales. Elevation achieved the greatest share growth,
up 1.4% on 2009 to claim 5.1% of volumes, boosted
by the success of Liongate’s The Hurt Locker.
Please note that there are no digital data included
in this summary of the Irish video market.
111

Everyone has a favourite
movie moment, whether
it’s one that makes your
blood run cold, or one that
makes you belly chuckle.
Either way, you feel like
you’re really there, in that
moment. These are the
moments that are worth
paying for.
For more information visit
www.industrytrust.co.uk/moments

Directory
Contents
Distributors/publishers 114
Retailers – physical and digital 121
Sales 123
Marketing and PR 124
Physical distribution/wholesale 127
Creative services 128
Industry bodies 132
Print media and ABC figures 134
Broadcast and online 136
Venues – cinema exhibitors and screening rooms 138
Research/data supply 140
Directory at a glance 142
Key:
Entries with shaded background are BVA members
DIRECTORY
We have tried to ensure that all of the information
in the directory is accurate. However if you would
like to make any amends or indeed enhance your
entry with a display ad please contact us at:
directory@bva.org.uk
113

DIRECTORY
Distributors/publishers
2entertain
33 Foley Street, London W1W 7TL
Tel: 020 7612 3000
www.2entertain.co.uk
CEO: Paul Dempsey
Managing Director: Stuart Snaith
Sales Director: Brian Hill
114
4Digital Media Limited
8 Dukes Ride, Gerrards Cross, Bucks SL9 7LD
Tel: 01753 893 121
www.4digitalmedia.com
Managing Director: Tony Taglienti
4DVD
124 Horseferry Road, London SW1P 2TX
Tel: 020 7396 4444
www.channel4.com
Head of DVD: David Root
Marketing & Sales Manager: Karla Berry
Abbey Home Media Group Ltd
435-437 Edgware Road, London W2 1TH
Tel: 020 7563 3910
www.abbeyhomemedia.com
Managing Director: Anne Miles
Director Audio, Video & DVD Sales: Emma Evans
Acorn Media UK
16 Welmar Mews, Ivy Works,
154 Clapham Park Road, London SW4 7DD
Tel: 020 7627 7200
www.acornmediauk.com
Managing Director: Paul Holland
Marketing & Acquisitions Manager: Peter Smart
Head Of Sales: Gill Riley
Anchor Bay Entertainment (UK) Ltd
6 Heddon Street, London W1B 4BT
Tel: 020 7025 7400
www.anchorbay.co.uk
Managing Director: Colin Lomax
Head of Sales: Matt Falkner
Head of Acquisitions/A&R: Rod Smith
Head of Marketing: Emma Nicholls
Head of Production: Mark Upton
Arrow Films
Orchard Villa, Porters Park Drive,
Shenley, Radlett, Hertfordshire WD7 9DS
Tel: 01923 858 306
www.arrowfilms.co.uk
Managing Director: Alex Agran
Artefact Media
1 Park View Road, Brighton BN3 7BF
Tel: 01273 245 099
www.artefactmedia.co.uk
Managing Director: Howard Seal
Artificial Eye Film Company Ltd
20-22 Stukeley Street, London WC2B 5LR
Tel: 020 7438 9581
www.artificial-eye.com
Managing Director: Louisa Dent
Home Entertainment Manager: Steve Lewis
Avid Entertainment Ltd
15 Metro Centre, Dwight Road,
Tolpits Lane, Watford WD18 9UL
Tel: 01923 281 281
www.avidgroup.co.uk
Managing Director: Richard Lim
Axiom Films
2nd Floor, 87 Notting Hill Gate, London W11 3JZ
www.axiomfilms.co.uk
Tel: 020 7243 3111
Managing Director: Douglas Cummins
Head of DVD Operations: Lisa Cullen
Head of Press: Nick Pourgourides
BBC Worldwide Ltd
Media Centre, 201 Wood Lane, London W12 7TQ
Tel: 020 8433 2000
www.bbcworldwide.com
CEO: John Smith
Beckmann Visual Publishing
Milntown Lodge, Lezayre Road,
Ramsey, Isle of Man IM8 2TG
Tel: 01624 816 585
www.beckmanngroup.co.uk
Managing Director: Jo White
Sales & Marketing Director: Kelly Smith
Beez Entertainment
142 Boulevard Diderot, 75012 Paris, France
Tel: 07957 523 578
www.beez-ent.com
Managing Director: Yves Pont
Head of Acquisitions: Andrew Partridge

BFI
21 Stephen Street, London W1T 1LN
Tel: 020 7255 1444
www.bfi.org.uk
Director: Amanda Nevill
Head of DVD: Sam Dunn
Product Marketing Co-ordinator: James Blackford
Press Officer: Jill Reading
Bluebell Films
PO Box 44636, London N16 5TU
Tel: 020 8211 1888
www.bluebellfilms.com
Managing Director: Paul Hills
Blue Dolphin Films
40 Langham Street, London W1W 7AS
Tel: 020 7255 2494
www.bluedolphinfilms.com
Managing Director: Joseph D’Morais
Boulevard Entertainment Ltd
8th Floor, Northway House,
1379 High Road, London N20 9LP
Tel: 020 8492 3307
www.boulevard-entertainment.com
Managing Director: Sandy Davidson
Head of Sales: Andrew Boas
Head of Marketing: Pippa Simmons
Brightspark Productions Ltd
Lace House, 39-40 The Old Steine, Brighton BN1 1NH
Tel: 01273 202 220
www.brightsparkltd.com
Managing Director: Jeremy Davis
Creative Director: Malcolm Davis
Camrose Media Ltd
106 Main Street, Pembroke SA71 4HN
Tel: 01646 682 329
www.camrosemedia.com
Managing Director: Ian Smith
Classic Media
3rd Floor, Royalty House,
72-74 Dean Street, London W1D 3SG
Tel: 020 8762 6200
www.classicmedia.tv
Managing Director: Paul Ashworth
Director of UK Home Entertainment: Neil Allen
Clear Vision
The Lighthouse, 1 Aden Road, Enfield EN3 7SE
Tel: 020 8805 1354
Chairman: Ian Allen
VP and Director Home Entertainment: Nic Sales
International Sales and
Marketing Director: Gil Garagnon
Sales Manager UK & Ireland: Paul Archer
DIRECTORY
Cornerstone Media International Ltd
69 Edward Street, Southborough, Kent TN4 0EA
Tel: 01892 557 895
www.cornerstonemediaint.com
Managing Director: Nick Cooper
Sales Manager: Graham Dawkins
Delanic Films Ltd
6 Heddon Street, London W1B 4BT
Tel: 020 7025 7420
www.delanic.com
Managing Director: Joe Simpson
Delta Leisure Group
222 Cray Avenue, Orpington, Kent BR5 3PZ
Tel: 01689 888 888
www.deltaleisuregroup.co.uk
Managing Director: Laurie Adams
Director Product & Marketing: Charles Webster
Group Sales Director: Lee Harmer
Demand Media
Unit D1, Fairoaks Airport, Chobham,
Surrey GU24 8HX
Tel: 01276 858 435
www.demanddvd.co.uk
Directors: James Akerman and Jason Fenwick
Digital Classics DVD
151 Wardour Street, London W1F 8WE
Tel: 020 7297 8035
www.digitalclassics.co.uk
DVD Manager: Katherine Hackworthy
Diviniti Publishing Ltd
Unit 1, Bourne Enterprise Centre, Wrotham Road,
Borough Green, Kent TN15 8DG
Tel: 01732 882 057
www.hypnosisaudio.com
Managing Director: Glenn Harrold
DNC Entertainment Ltd
The Old School, Princes Road,
Weybridge, Surrey KT13 9BN
Tel: 01932 836 420
www.dncentertainment.co.uk
Managing Director: Andrew O’Neill
Dogwoof
Unit 211, Hatton Square Business Centre
16-16a Baldwins Gardens, London EC1N 7RJ
Tel: 020 7831 7252
www.dogwoof.com
CEO: Andy Whittaker
Head of Distribution: Oli Harbottle
115

DIRECTORY
Drakes Avenue Pictures Ltd
Kenilworth House, 79-80 Margaret Street,
London W1W 8TA
Tel: 020 7436 8001
Managing Director: Colin Burch
Duke Marketing Ltd
Champion House, PO Box 46,
Douglas, Isle of Man IM99 1DD
Tel: 01624 640 000
www.dukevideo.com
Managing Director: Peter Duke
Marketing Manager: Paul Wheeldon
Marketing Executive: Emma Watterson
Entertainment One UK
120 New Cavendish Street, London W1W 6XX
Tel: 020 7907 3773
www.entertainmentone.co.uk
Chief Operating Officer: Charles Ogilvie
Director of Home Entertainment: Jon Bourdillon
Head of Sales & Marketing: Matt Brightwell
Acquisitions Manager: Poonam Sahota
Eagle Rock Entertainment Ltd
Eagle House, 22 Armoury Way,
Wandsworth, London SW18 1EZ
Tel: 020 8870 5670
www.eagle-rock.com
Executive Chairman & CEO: Terry Shand
Chief Operating Officer: Geoff Kempin
Managing Director, Operations
& International: Lindsay Brown
UK Marketing Manager: Ian Rowe
Element Pictures
14 Newburgh Street, London, W1F7RT
Tel: 020 7287 5420
www.elementpictures.ie
Managing Directors: Ed Guiney and Andrew Lowe
EMI Music UK and Ireland
EMI House, 27 Wrights Lane, London W8 5SW
Tel: 020 7795 7000
www.emirecords.co.uk
VP, Visual Content
Strategy & Acquisitions: Stefan Demetriou
Entertainment In Video
Eagle House, 108-110 Jermyn Street,
London SW1Y 6HB
Tel: 020 7930 7744
www.entertainmentfilms.co.uk
Managing Directors: Nigel Green and Trevor Green
Sales & Marketing Director: Paul Evenden
116
Eros International
Milner House, 13 Manchester Square,
London W1U 3PP
Tel: 020 7935 2727
www.erosentertainment.com
DVD Sales: Bhavna Mistry
Eureka Entertainment Ltd
Unit 9, Ironbridge Close,
Great Central Way, London NW10 0UF
Tel: 020 8459 8054
www.eurekavideo.co.uk
Managing Director: Ron Benson
FremantleMedia
1 Stephen Street, London W1T 1AL
Tel: 020 7691 6000
www.fremantlemedia.com
CEO EMEA: Mel Alcock
SVP Home Entertainment
and Archive Sales: Pete Kalhan
Sales & Marketing Director FHE UK: Andy Palmer
Head of Operations FHE UK: Turath Alsaraf
Go Entertain
Broadley House, 48 Broadley Terrace,
London NW1 6LG
Tel: 020 7569 2600
www.goentertain.tv
Managing Director: Neil Harrington
Good Guys Media Ltd
Randolphs Farm, Bedlam Street, Hurstpierpoint,
Hassocks, West Sussex BN6 9EL
Tel: 07525 748 396/01273 588 644
www.goodguysmedia.com
Directors: Robin Culpan and Duncan Sibbald
Guerilla Films Ltd
35 Thornbury Road, Isleworth TW7 4LQ
Tel: 020 8758 1716
www.guerilla-films.com
Chairman: David Wilkinson
G2 Entertainment
Studio 19, Waterhouse Business Centre,
2 Cromar Way, Chelmsford CM1 2QE
Tel: 0845 528 0323
www.g2ent.co.uk
Managing Director: Alan Jones

High Fliers Films plc
Gainsborough House, 2 Sheen Road,
Richmond Upon Thames TW9 1AE
Tel: 020 8973 2470
www.highfliersplc.com
CEO: Jeremy Rothwell
Managing Director: May Monteiro
Acquisitions Manager: Duncan Stripp
Head of Operations: Carey Williams
Marketing Manager: Jane Lawson
HIT Entertainment
5th Floor, Maple House,
149 Tottenham Court Road, London W1T 7NF
Tel: 020 7554 2500
www.hitentertainment.com
SVP, Global Brand Management: Rick Glankler
Senior Director Home Entertainment,
EMEA & UK: Russell Pearson
Director UK Home Entertainment,
UK & Eire: Simon Riches
Icon Home Entertainment
The Charlotte Building, 17 Gresse Street,
London W1T 1QL
Tel: 020 8492 6300
www.iconmovies.co.uk
CEO: Stewart Till
General Manager: Ian Dawson
Head of Sales: Ray Primett
Head of Marketing: Chris Warrington
ILC Media
1st Floor Studios, Osbourne Way, Preston PR1 6PZ
Tel: 08457 424 243
www.ilcmedia.com
Managing Director: Anne Bidwell
Business Manager: Claire Fitzgerald-Firth
Head of Marketing: Daniel Gray
IMC Vision Ltd
Scotsbridge House, Scots Hill,
Rickmansworth, Hertfordshire WD3 3BB
Tel: 01923 718 800
www.imcvision.com
Managing Director: Ken Gray
Head of Sales: Andy Wheeler
Infinity Media Ltd
Business Design Centre, 52 Upper Street,
London N1 1QH
Tel: 020 7288 6333
www.infinity-dvd.co.uk
Managing Director: Adrian Munsey
DIRECTORY
ITV Studios Home Entertainment
The London Television Centre,
Upper Ground, London SE1 9LT
Tel: 020 7157 3000
www.globalent.itv.com
Interim Director of Home Entertainment: Kevin Morgan
Director of UK DVD: Clare Hill
Kaleidoscope Home Entertainment
77 Oxford Street, London W1D 2ES
Tel: 020 7659 2013
www.kaleidoscopehomeentertainment.com
CEO: Spencer Pollard
Lace Digital Media Sales
Lace House, 39-40 Old Steine, Brighton, BN1 1NH
Tel: 01273 202 220
www.lacedigitalmediasales.com
Managing Director: Adam Lacey
Sales Director: Andy Lyon
Marketing Manager: Violet Donohoe
Creative Director: James F. Foster
Lace DMS (Ireland) Ltd
Estuary House, Swords Business Park, Swords
County Dublin, Ireland
Tel: 00 353 872517136
Sales Director: Eoghan Burke
Lionsgate Home Entertainment
60 Charlotte Street, London W1T 2NU
Tel: 020 7299 8800
www.lionsgatefilms.co.uk
CEO: Zygi Kamasa
Managing Director
Home Entertainment: Nicola Pearcey
Marketing Director
Home Entertainment: Marie-Claire Benson
Manga Entertainment Ltd (UK)
6 Heddon Street, London W1B 4BT
Tel: 020 7025 7400
www.manga.co.uk
Managing Director: Colin Lomax
Acquisitions & Marketing
Manager: Jerome Mazandarani
Metrodome Group plc
Garfield House, 2nd Floor,
86-88 Edgware Road, London W2 2EA
Tel: 020 7535 7300
www.metrodomegroup.com
CEO: Mark Webster
General Manager Distribution: Sara Frain
Head of Sales: John Ramchandani
117

DIRECTORY
118
Momentum Pictures
2nd Floor, 20 Soho Square, London W1D 3QW
Tel: 020 7534 0400
www.momentumpictures.co.uk
Managing Director: Xavier Marchand
Sales Director: Neil Williams
Marketing Director: Louisa Mitchell
Head of Sales: Rob Bentley
Mr Bongo Films
2nd Floor, 24 Old Steine, Brighton BN1 1EL
Tel: 01273 600 546
www.mrbongo.com
Managing Director: David Buttle
MVM Entertainment Ltd
1st Floor, Benson’s Court, St Mary’s Arcade,
Chepstow, Monmouthshire NP16 5HT
Tel: 01291 627 207
www.mvm-films.com
Managing Director: Tony Allen
Network Distributing
1st Floor, 346 Kensington High Street,
London W14 8NS
Tel: 020 7605 4420
www.networkdvd.co.uk
Nouveaux Pictures
10c Hillgate Place, Balham Hill, London Sw12 9ES
Tel: 020 8673 9752
www.moviemail-online.com
Managing Director: Martin Nash
NPN Videos
PO Box 3151, Swindon, Wiltshire SN2 9BX
Tel: 01793 725 577
www.npnvideos.co.uk
Managing Director: Mark Haville
Nucleus Films
Suite 43, Roehampton Close, London SW15 5LU
Tel: 020 8878 7305
www.nucleusfilms.com
Managing Director: Marc Morris
Odeon and Sky Filmworks
135 Shaftesbury Avenue, London WC2H 8AH
Tel: 020 7240 1164
Odeon Entertainment Ltd
Unit 14, Midland Court, Central Park, Lutterworth,
Leicestershire LE17 4PN
Tel: 01455 558 160
www.odeonent.co.uk
Managing Director: Alan Byron
Optimum Releasing
50 Marshall Street, London W1F 9BQ
Tel: 020 7534 2700
www.optimumreleasing.com
Managing Director: Danny Perkins
General Manager Home Entertainment: John Rodden
Palisades Tartan UK
c/o Metrodome Group plc, The Communications
Building, 48 Leicester Square, 3RD Floor,
London WC2H 7LT
Tel: 020 7766 8635
www.palisadestartan.com
CEO: Soumya Sriraman
UK Media Consultant: Hugh K. David
Paramount Home Entertainment UK
Building 5, Chiswick Park,
566 Chiswick High Road, London W4 5YF
Tel: 020 3184 2300
www.paramountpictures.co.uk
Managing Director: Charlie McAuley
Marketing Director: Lesley Henry
Park Circus Ltd
1 Park Terrace, 2nd Floor, Glasgow G3 6BY
Tel: 0141 332 2175
www.parkcircus.com
Managing Directors: Nick Varley and John Letham
Pathé UK
No.6 Ramillies Place, London W1F 7PY
www.pathe.co.uk
Tel: 020 7323 5151
Managing Director: Cameron McCracken
DVD Product Manager: Lloyd Vanson
Peccadillo Pictures
1st Floor, 55 Farringdon Road, London EC1M 3JB
Tel: 020 7419 2710
www.peccapics.com
Managing Directors: Tom Abell and Kahloon Loke
Production: Hong Khaou and Jason Bradbury
Press: Simon Savory
Marketing: Nicola Gallani
Pegasus Entertainment
Unit 5, Brook Trading Estate, Deadbrook Lane,
Aldershot, Hampshire GU12 4XB
Tel: 01252 350 173
www.pegasus-ent.com
Managing Director: Dennis Lloyd
PIAS Comedy
Unit 24, Farm Lane Trading Estate,
101 Farm Lane, London SW6 1QJ
Tel: 020 7471 2700
www.pias.com/uk
Contact: Andy Townsend

PIAS UK Ltd
Unit 24, Farm Lane Trading Estate, 101 Farm Lane,
London SW6 1QJ
Tel: 020 7471 2700
www.pias.com/uk
Managing Director: Peter Thompson
Quantum Leap Group
1A Great Northern Street, Huntingdon,
Cambridgeshire PE29 7HJ
Tel: 01480 450 006
www.qleap.co.uk
Managing Director: Gary Peet
Redemption Films
64 Charlotte Street, London W1T 4QD
Tel: 020 7436 7577
www.redemption-films.com
Managing Director: Nigel Wingrove
Revelation Films Ltd
The Barn House, 38 Meadow Way, Eastcote,
Middlesex HA4 8SY
Tel: 020 8866 7145
www.revfilms.co.uk
Managing Director: Tony Carne
Commercial Director: Trevor Drane
Head of Marketing: Alice Dyson
Revolver Entertainment
48 and 49 Princes Place, London W11 4QA
Tel: 020 7243 4300
www.revolvergroup.com
CEO: Justin Marciano
Director of Marketing: Jon Sadler
Director of Home Entertainment: Steve Staniland
Salvation Group
64 Charlotte Street, London W1T 4QD
Tel: 020 7436 7577
www.salvation-films.com
Managing Director: Nigel Wingrove
Scanbox Entertainment
Gainsborough House, 2 Sheen Road,
Richmond Upon Thames TW9 1AE
Tel: 020 8973 2470
CEO: Jeremy Rothwell
Managing Director: May Monteiro
Commercial Director: Steve Jackson
Product Director: Ken Law
Second Sight
16 Connaught Road, Teddington TW11 0PS
Tel: 020 8977 0553
www.secondsightfilms.co.uk
Managing Director: Chris Holden
Severin Films
7 Denmark Street, London WC2H 8LZ
Tel: 020 7240 7787
www.severin-films.com
CEO: Carl Daft
DIRECTORY
Showbox Home Entertainment
Regal Chambers, 51 Bancroft, Hitchin,
Hertfordshire SG5 1LL
Tel: 01462 477 890
www.showboxmediagroup.com
Group Directors: David Hodgins and Steve Rivers
Group General Manager: Steve Hodgins
Sales Director: Paul Slader
Simply Media
Bentima House, 168-172 Old Street,
London EC1V 9BP
Tel: 020 7608 8650
www.simplymedia.tv
CEO: Henry Scott
Managing Director
Home Entertainment: Richard Jones
Client Services Director: Catherine Daniel
Soda Pictures
17 Blossom Street, London E1 6PL
Tel: 020 7377 1407
www.sodapictures.com
Managing Directors: Eve Gabereau
and Edward Fletcher
Sony Music Entertainment (Ireland) Ltd
Embassy House, Ballsbridge, Dublin 4
Tel: +353 647 3400
www.sonybmg.com
Head of Sales: Eoghan Burke
Sony Music Entertainment UK Ltd
9 Derry Street, London W8 5HY
Tel: 020 7361 8000
www.sonymusic.com
Sony Pictures Home Entertainment
Sony Pictures Europe House,
25 Golden Square, London W1F 9LU
Tel: 020 7533 1000
www.sonypictures.co.uk
Managing Director: Andy Armstrong
Commercial Director: Tom Brooks
Stax Entertainment Ltd
Yeoman House, Station Close,
Rotherfield, East Sussex TN6 3JQ
Tel: 01892 852 913
www.staxentertainment.com
General Manager: Steve Beecham
119

DIRECTORY
120
Target Entertainment Group
2nd Floor, Garfield House,
86-88 Edgware Road, London W2 2EA
Tel: 0870 164 7474
www.targetentertainmentgroup.com
CEO: Alison Rayson
Commercial Director: Helen Howells
TLA Releasing
12 Archer Street, Unit B, London W1D 7BB
Tel: 020 7287 2804
www.tlareleasing.co.uk
Product Manager: Lee Gunther
Turner Broadcasting Systems Europe Ltd
Turner House, 16 Great Marlborough Street, London
W1F 7HS
Tel: 020 7693 1000
www.turner.com
Managing Director: Jeff Kupsky
DVD Product Manager EMEA: Kelly Moore
Twentieth Century Fox Home Entertainment
Twentieth Century House, 31-32 Soho Square,
London W1D 3AP
Tel: 020 7753 8686
www.fox.co.uk
Managing Director: Robert Price
Sales Director: Annika Bizon
Marketing Director: Mark Horton
Universal Music (UK) Ltd
364-366 Kensington High Street,
London W14 8NS
Tel: 020 7471 5300
www.umusic.com
Universal Pictures (UK) Ltd
Prospect House, 80-110 New Oxford Street,
London WC1A 1HB
Tel: 020 7079 6000
www.universalpictures.co.uk
Managing Director: Ian Foster
Sales Director: Paul Ludlam
Marketing Director: Karen Charalambous
Vertigo Films
The Big Room Studios, 77 Fortress Road,
London NW5 1AG
Tel: 020 7428 7555
www.vertigofilms.com
Managing Directors: James Richardson,
Alan Niblo and Rupert Preston
Verve Pictures Ltd
Kenilworth House, 79-80 Margaret Street,
London W1W 8TA
Tel: 020 7436 8001
Managing Director: Colin Burch
Voiceprint
PO Box 50, Houghton-le-Spring,
Tyne & Wear DH4 5YP
Tel: 01915 124 963
www.voiceprint.co.uk
Managing Director: Rob Ayling
Walt Disney Studios Home Entertainment
3 Queen Caroline Street, London W6 9PE
Tel: 020 8222 1000
www.disney.co.uk
Executive Director & VP Operations: Ruth Parkinson
General Manager, Retail UK & Ireland: Mike Stagg
Warner Home Video UK & Eire
Warner House, 98 Theobald’s Road,
London WC1X 8WB
Tel: 020 7984 5000
www.warnerbros.co.uk
SVP and Managing Director: John Stanley
Sales Director: Doug Fox
Marketing Director: Sarah Bird
Warner Music Entertainment
46 Kensington Court, London W8 5DA
www.wmg.com
Tel: 020 7938 5500
President: Conrad Withey
Wienerworld
Unit 7, Freetrade House, Lowther Road,
Stanmore, Middlesex HA7 1EP
Tel: 020 8206 1177
www.wienerworld.com
Managing Director: Anthony Broza
Operations Manager: Laura Berman
Marketing Manager: Jacob Morrison-Wood
Woodlore
PO Box 3, Etchingham, East Sussex TN19 7ZE
Tel: 01580 819 668
www.raymears.com
Managing Director: Steve Gurney
Yume Pictures
3rd Floor, 2-6 Curtain Road, London EC2A 3NQ
Tel: 020 7099 6020
www.yumepictures.co.uk
Managing Directors: Chris Oosterom
and Patrizia Raeli

Retailers – physical and digital
Amazon.co.uk
Patriot Court, 1-9 The Grove, Slough SL1 1QP
Tel: 020 8636 9200
www.amazon.co.uk
Managing Director: Brian McBride
DVD Vendor Manager: Alex Perkins
Argos Ltd
Home Retail Group, 489-499 Avebury Boulevard,
Saxon Gate West, Central Milton Keynes MK9 2NW
Tel: 0845 124 0044
www.argos.co.uk
Managing Director: Sara Weller
Asda
Asda House, Southbank, Great Wilson Street,
Leeds LS11 5AD
Tel: 0113 243 5435
www.asda.co.uk
Category Director: Sanjib Dosanjh
DVD Buying Manager: Louise Parker
Best Buy UK
1 Portal Way, London W3 6RS
Tel: 020 8896 5000
www.bestbuy.co.uk
CEO: Paul Antoniadis
Category Head Entertainment: Joel Hanson
Blinkbox Entertainment Ltd
20-24 Kirby Street, London EC1N 8TS
Tel: 020 7092 8700
www.blinkbox.com
CEO: Michael Comish
Blockbuster Entertainment Ltd
Harefield Place, The Drive, Ickenham,
Uxbridge UB10 8AQ
Tel: 01895 258 866
www.blockbuster.co.uk
Managing Director: Martin Higgins
Head of Marketing: Bryn Owen
Chipsworld Ltd
63-65 Borough Road, Middlesbrough TS1 3AA
Tel: 0870 013 0028
www.chipsworld.co.uk
Managing Directors: Don McCabe and Nik Agar
ChoicesUK
Queen Street, Burton upon Trent,
Staffordshire DE14 3LP
Tel: 0845 218 4530
www.choicesuk.com
Managing Director: Bernard Kumeta
Comet Group plc
Criterion House, George Street, Hull HU1 3AU
Tel: 0844 800 9595
www.comet.co.uk
Managing Director: Hugh Harvey
Coolroom
Tel: 020 7837 1116
www.coolroom.com
Managing Director: Rupert Fleming
The Co-operative Group
New Century House, Corporation Street,
Manchester M60 4ES
Tel: 0161 834 1212
www.co-op.co.uk
Group Chief Executive: Peter Marks
Costco Wholesale UK Ltd
UK Home Office, Hartspring Lane,
Watford, Herts WD25 8JS
Tel: 01923 213 113
www.costco.co.uk
Managing Director: Steve Pappas
DVD Buyer: Alison Owen
DSG International plc (Currys, PC World)
Maylands Avenue, Hemel Hempstead,
Hertfordshire HP2 7TG
Tel: 0844 800 2030
www.dsgiplc.com
Chief Executive: John Browett
Forbidden Planet
144 Southwark Street, London SE1 0UP
Tel: 020 7620 0200
www.forbiddenplanet.com
The Game Group plc
Unity House, Telford Road,
Basingstoke, Hampshire RG21 6YJ
Tel: 01256 784 000
www.gamegroupplc.co.uk
Chief Executive: Lisa Morgan
DIRECTORY
121

DIRECTORY
122
HMV UK & Ireland
Film House, 142 Wardour Street, London W1F 8LN
Tel: 020 7432 2000
www.hmv.com
Managing Director: Simon Fox
Head of DVD: Rudy Osorio
Senior DVD Buying Manager: Andy Anderson
Homebase Ltd
Home Retail Group, 489-499 Avebury Boulevard,
Saxon Gate West, Central Milton Keynes MK9 2NW
Tel: 0845 601 6911
www.homebase.co.uk
Managing Director: Paul Loft
The Hut Group
Meridian House, Gadbrook Park, Rudheath,
Northwich, Cheshire CW9 7RA
Tel: 01606 338 197
www.thehut.com
www.whsmithentertainment.co.uk
www.zavvi.com
CEO: Matthew Moulding
Commercial Director: Richard Chapple
Associate Product Director: Markus Bhatia
LOVEFiLM
No.9, 6 Portal Way, London W3 6RU
Tel: 020 8896 8000
www.lovefilm.com
CEO: Simon Calver
Chief Operating Officer: Jim Buckle
Chief Marketing Officer: Simon Morris
Group Digital Officer: Lesley Mackenzie
Marks & Spencer Group plc
Waterside House, 35 North Wharf Road,
London W2 1NW
Tel: 020 7935 4422
www.marksandspencer.com
Chief Executive: Marc Bolland (May 1)
Morrisons Supermarkets plc
Hilmore House, Gain Lane, Bradford BD3 7DL
Tel: 0845 611 5000
www.morrisons.co.uk
Chief Executive: Dalton Philips
Home & Leisure Director: Mike Snell
Moviemail
5 Stucley Place, London NW1 8NS
Tel: 0844 776 0900
www.moviemail-online.co.uk
Managing Director: Carol Hunter
Chief Buyer: Rebecca Smith
Website & Marketing Manager: Dan Hunter
Online Commerce Ltd
Unit 45 Rissington Business Park,
Upper Rissington Gloucestershire GL54 2QB
Tel: 01451 823 148
www.blahdvd.com
www.dvd.co.uk
Commercial Director: James Bradshaw
Play.com (Webworks Ltd/Webfactory Ltd)
Sovereign House, Vision Park, Chivers Way,
Histon, Cambridge CB24 9BY
Tel: 01223 484 000
www.play.com
Managing Director: Stuart Rowe
Head of Marketing: Adam Stuart
Product Director for DVD,
Music, Books and Games: David Rimmer
DVD Category Manager: Simon Homent
Poundland Ltd
Wellmans Road, Willenhall, West Midlands WV13 2QT
Tel: 01215 687 000
www.poundland.co.uk
Chief Executive: Jim McCarthy
Trading Controller Entertainment: Bob Davies
Poundstretcher
Instore, Trident Business Park, Leeds Road,
Deighton, Huddersfield HD2 1UA
Tel: 01484 431 444
www.poundstretcher.co.uk
CEO: Aziz Tayub
Sainbury’s Supermarkets Ltd
33 Holborn, London, EC1N 2HT
Tel: 020 7695 6000
www.sainsburys.co.uk
Chief Executive: Justin King
Category Manager Entertainment: Richard Crampton
DVD Manager: Matt Newman
Spar (UK) Ltd
Hygeia Building, 66-68 College Road,
Harrow, Middlesex HA1 1BE
Tel: 020 8426 3700
www.spar.co.uk
Managing Director: Jerry Marwood
Tesco plc
New Tesco House, Delamare Road,
Cheshunt, Hertfordshire EN8 9SL
Tel: 01992 632 222
www.tesco.com
Category Director Entertainment: Rob Salter
Senior Buying Manager DVD & Music: Kevin Dersley

Toys R Us
Geoffrey House, Vanwall Business Park,
Vanwall Road, Maidenhead SL6 4UB
Tel: 01628 414 141
www.toysrus.co.uk
Managing Director: David Rurka
Waitrose Ltd
Doncastle Road, Southern Industrial Area,
Bracknell, Berkshire RG12 8YA
Tel: 01344 424 680
www.waitrose.com
Managing Director: Mark Price
Waterstone’s
Capital Court, Capital Interchange Way,
Brentford, Middlesex TW8 0EX
Tel: 020 8742 3800
www.waterstones.com
Managing Director: Dominic Myers
DVD Buyer: Rosie Noonan
Sales
Cornerstone Media International Ltd
69 Edward Street, Southborough, Kent TN4 0EA
Tel: 01892 557 895
www.cornerstonemediaint.com
Managing Director: Nick Cooper
Sales Manager: Graham Dawkins
Elevation Sales Ltd
45-51 Whitfield Street, London W1T 4HB
Tel: 020 3031 6070
Managing Director: Graham Davidson
Head of Sales: Richard Athill
Head of Rental: Richard Brooker
New Business: Tom Langlands
Fusion Media Sales Ltd
2nd Floor, 34-35 Berwick Street, London W1F 8RP
Tel: 020 3355 5280
www.fusionmediasales.co.uk
Managing Director: Ross Fitzsimons
Sales Director: Murray Dibbs
Gem Distribution Ltd
St George House, Parkway, Harlow Business Park,
Harlow, Essex CM19 5QF
Tel: 01279 822 800
www.gem.co.uk
Managing Director: Chris Peacock
Sales Director: Darren Houghton
WH Smith High Street
Greenbridge Road, Swindon,
Wiltshire SN3 3LD
Tel: 01793 616 161
www.whsmith.co.uk
Chief Executive: Kate Swann
The Works
Midpoint Park, Minworth, Sutton Coldfield,
West Midlands B76 1RN
Tel: 0121 313 6000
www.theworks.co.uk
Managing Director: Bob Lister
DIRECTORY
Lace Digital Media Sales
Lace House, 39-40 Old Steine, Brighton, BN1 1NH
Tel: 01273 202 220
www.lacedigitalmediasales.com
Managing Director: Adam Lacey
Sales Director: Andy Lyon
Marketing Manager: Violet Donohoe
Creative Director: James F. Foster
Media Sales UK Ltd
18c High Street, Standish, Wigan WN6 0HL
Tel: 01257 426 897
www.mediasalesuk.co.uk
Managing Director: Ron Wilson
Commercial Director: Andrew McCreary
Sales Manager: Dave Wilson
Showbox Media Group Ltd
Regal Chambers, 51 Bancroft, Hitchin,
Hertfordshire SG5 1LL
Tel: 01462 477 890
www.showboxmediagroup.com
Group Directors: David Hodgins and Steve Rivers
Group General Manager: Steve Hodgins
Sales Director: Paul Slader
123

DIRECTORY
Spirit Entertainment Ltd
5th Floor, 19 Margaret Street, London W1W 8RR
Tel: 020 7631 8480
info@spirit-entertainment.com
Sales Director: Frank Cirillo
Commercial Director: Sarah Stanley
Marketing and PR
Marketing
Aegis Group plc
180 Great Portland Street, London W1W 5QZ
Tel: 020 7070 7700
www.aegisplc.com
Bezier Group
Bellway Court, Silkwood Park,
Wakefield WF5 9TL
Tel: 01924 362 921
www.beziergroup.co.uk
Blue Barracuda UK
Sweeps Building, 34 Leather Lane,
Clerkenwell, London EC1N 7SQ
Tel: 020 7400 0950
www.bluebarracuda.com
Carat
Parker Tower, 43-49 Parker Street,
London WC2B 5PS
Tel: 020 7430 6000
www.carat.co.uk
CBS Outdoor
Camden Wharf, 28 Jamestown Road,
London NW1 7BY
Tel: 020 7482 3000
www.cbsoutdoor.co.uk
Clear Channel Outdoor UK
33 Golden Square, London W1F 9JT
Tel: 020 7478 2200
www.clearchannel.co.uk
Coutts Creative
Golden House, 30 Great Pulteney Street,
London W1F 9NN
Tel: 020 7534 8800
www.couttscreative.com
CPM
47 Aylesbury Road, Thame, Oxon OX9 3PG
Tel: 01844 261 777
www.uk.cpm-int.com
124
The Delta Group
153-157 Blackhorse Lane,
Walthamstow, London E17 5QZ
Tel: 020 8498 4400
www.thedeltagroup.co.uk
Gorilla Nation UK
19-20 Noel Street, Suite 14,
London W1F 8GW
Tel: 020 7763 5765
www.gorillanation.com
JCDecaux
Summit House, 27 Sale Place,
London W2 1YR
Tel: 020 7298 8000
www.jcdecaux.co.uk
JustMedia Ltd
The Qube, 90 Whitfield Street,
London W1T 4EZ
Tel: 020 7803 4400
www.justmedia.co.uk
MediaCom UK
124 Theobalds Road, London WC1X 8RX
Tel: 020 7158 5500
www.mediacomuk.com
Mindshare
Central St Giles, 1 St Giles, London WC2H 8AR
Tel: 020 7969 4040
www.mindshare.co.uk
MJ Media
97 Charlotte Street, London W1T 4QA
Tel: 020 7467 9700
www.mjmedia.co.uk
MPD
Priestley Way, Forest Road Trading Estate,
London E17 6AL
Tel: 020 8523 6800
www.mpdlimited.co.uk

OMD UK Group
Minerva House, 1-4 North Crescent,
Chenies Street, London WC1E 7ER
Tel: 020 3023 4500
www.omd.com
Primesight
Charlotte House, 14 Windmill Street,
London W1T 2DY
Tel: 020 7908 4300
www.primesight.co.uk
Target Media
45-51 Whitfield Street, London W1T 4HB
Tel: 020 3372 0900
www.target-media.co.uk
Vizeum UK
The Qube, 90 Whitfield Street,
London W1T 4EZ
Tel: 020 7379 9000
www.vizeum.co.uk
Zenith Optimedia
24 Percy Street, London W1T 2BS
Tel: 020 7961 1000
www.zenithoptimedia.co.uk
PR
Aim Publicity
7 Lightcliffe Road, London N13 5HD
Tel: 020 8292 2818
www.aimpublicity.com
The Associates
Monticello House, 45 Russell Square,
London WC1B 4JP
Tel: 020 7907 4770
www.the-associates.co.uk
Barrington Harvey
Troopers Yard, Bancroft, Hitchin,
Herts SG5 1JW
Tel: 01462 456 780
www.bhpress.co.uk
Blue Rubicon
5th Floor, 6 More London Place,
London SE1 2DA
Tel: 020 7260 2700
www.bluerubicon.com
Borkowski PR
65 Clerkenwell Road, London EC1R 5BL
Tel: 020 7404 3000
www.borkowski.co.uk
Bubble & Squeak
8 Dean Street, London W1D 3RL
Tel: 020 7287 4655
www.bubblesqueak.co.uk
Cohn & Wolfe
7-12 Tavistock Square, Lynton House,
London WC1H 9LT
Tel: 020 7331 5300
www.cohnwolfe.com
The Communications Practice
1-2 St. John’s Path, Clerkenwell,
London EC1M 4DD
Tel: 020 7490 2626
www.the-practice.com
Consolidated Communications
22 Endell Street, London WC2H 9AD
Tel: 020 7781 2300
www.consolidatedpr.com
DDA PR
192-198 Vauxhall Bridge Road,
London SW1V 1DX
Tel: 020 7932 9800
www.ddapr.com
DNA PR
Albert House, 82 Queens Road,
Brighton BN1 3XE
Tel: 01273 722 155
www.dna-pr.com
Firebelly
351 Richmond Road, Twickenham TW1 2ER
Tel: 020 8843 8300
www.firebellycreative.co.uk
DIRECTORY
Fizz Communications
19 Gills Hill Lane, Radlett, Hertfordshire WD7 8DE
Tel: 01923 839 159
www.fizzcomms.co.uk
Frank PR
Centro 4, 20-23 Mandela Street,
London NW1 0DU
Tel: 020 7693 6999
www.frankpr.it
Freshwater Consumer
130-132 Tooley Street, London SE1 2TU
Tel: 020 7067 1594
www.freshwater-uk.com
Freud Communications
55 Newman Street, London W1T 3EB
Tel: 020 3003 6300
www.freud.com
125

DIRECTORY
Ian Monk Associates Ltd
26-28 Hammersmith Grove, London W6 7BA
Tel: 020 8834 1090
www.ianmonk.com
Indigo Pearl
8A Lonsdale Road, London NW6 6RD
Tel: 020 8964 4545
www.indigopearl.com
Jackie Cooper PR
Southside, 105 Victoria Street, London SW1E 6QT
Tel: 020 3047 4000
www.jcpr.com
Ketchum Pleon
35-41 Folgate Street, London E1 6BX
Tel: 020 7611 3500
www.ketchum.com
Luther Pendragon
Priory Court, Pilgrim Street, London EC4V 6DR
Tel: 020 7618 9100
www.luther.co.uk
Mark Collins PR
47 Stillingfleet Road, Barnes, London SW13 9AG
Tel: 020 8274 9206
www.markcollinspr.com
Market Me Ltd
2nd Floor, 7-10 Charlotte Mews, London W1T 4ED
Tel: 020 7462 0400
www.market-me.co.uk
Media Communications Ltd
Research House, Fraser Road, Perivale,
Middlesex UB6 7AQ
Tel: 020 8998 1517
www.mediacomms.co.uk
Mischief PR
1st Floor, 1 Hardwick Street, London EC1R 4RB
Tel: 020 7100 9999
www.mischiefpr.com
Nelson Bostock Communications
Compass House, 22 Redan Place,
London W2 4SA
Tel: 020 7229 4400
www.nelsonbostock.com
Organic Marketing
45-51 Whitfield Street, London W1T 4HB
Tel: 020 3372 0970
www.organic-marketing.co.uk
126
Peter Noble PR
2 Prospero Road, London N19 3RF
Tel: 020 7272 7772
www.noblepr.co.uk
PPR Publicity
Rylett Studios, 77 Rylett Crescent,
London W12 9RP
Tel: 020 8746 4600
www.pprpublicity.com
Premier PR
91 Berwick Street, London W1F 0NE
Tel: 020 7292 8330
www.premierpr.com
PR Genie
62 Gorham Drive, St Albans,
Hertfordshire AL1 2HP
Tel: 01727 751 878
www.prgenie.co.uk
RDA Communications
15 Chelsea Wharf, 15 Lots Road,
London SW10 0QJ
Tel: 020 7376 6700
www.rda.tv
Resonate Communications Ltd
5th Floor, Holborn Gate, 330 High Holborn,
London WC1V 7QG
Tel: 020 7861 2525
www.resonate-uk.co.uk
Romley Davies Publicity
4 New Burlington Street, London W1S 2JG
Tel: 020 3301 4747
www.romleydavies.com
Shine Communications
1 Hardwick Street, London EC1R 4RB
Tel: 020 7100 7100
www.shinecom.com
Taylor Herring
11 Westway Centre, 69 St Marks Road,
London W10 6JG
Tel: 020 8206 5151
www.taylorherring.com
Wired
76-78 Charlotte Street, London W1T 4QW
Tel: 020 7580 0171
www.wired.uk.com

Physical distribution/wholesale
Crownville Ltd
Unit 2, Brunel Close, Ebblake Industrial Estate,
Verwood, Dorset BH31 6BA
Tel: 01202 827 000
www.crownvilleltd.com
Managing Director: Nicholas Budimir
DCC plc
DCC House, Brewery Road, Stillorgan,
Blackrock, Co. Dublin, Ireland
www.dcc.ie
Tel: +353 1279 9400
Chief Executive: Tommy Breen
Discount Video (Leyton) Limited
2-6 High Road, Leyton, London E15 2BP
Tel: 020 8534 6087
www.discountvideoanddvd.com
Managing Director: Frank Porter
Discstribution Ltd
PO BOX 6250, Leighton Buzzard,
Bedfordshire LU7 9WT
Tel: 0845 430 8735
www.discstribution.com
Managing Director: Pete Walkling
Director of Sales: Kevin Beard
DVD/Blu-ray Sales: Ashley Cochrane
Videogames & Accessories: Richard Oakley
ESD Wholesale
1st Floor, 1 Park Parade, Farnham Royal,
Bucks SL2 3AU
Tel: 0845 345 4373
www.esdwholesale.com
Managing Director: Keith Staton
Filmtone (UK) Ltd
Unit 3, Burnside Industrial Estate,
49-53 Roebuck Road, Hainault IG6 3UG
Tel: 020 8500 9009
Managing Director: Phil Pinkus
Sales Consultant: Brian Yershon
Gardners Books
1 Whittle Drive, Eastbourne,
East Sussex BN23 6QH
Tel: 01323 521 555
www.gardners.com
Managing Director: Jonathan Little
Home Entertainment
Business Director: Garry Elwood
Buying Director: Simon Morley
Lasgo Chrysalis
Unit 2&3, Chapmans Park Industrial Estate,
378 High Road, Willesden, London NW10 2DY
Tel: 020 8459 8800
www.lasgo.co.uk
Managing Director: Pete Lassman
DIRECTORY
Library Multimedia Supplies Ltd
52 Littledown Avenue, Bournemouth BH7 7AR
Tel: 01202 399 252
www.librarymultimedia.com
Managing Director: Gary Green
MBL Group plc
Unit 9, Enterprise Court, Lancashire Enterprise
Business Park, Centurion Way, Leyland PR26 6TZ
Tel: 01772 455 000
www.mblgroup.co.uk
Chief Executive: Trevor Allan
Business Development Director: Marc Goldberg
Multichannel Solutions for
Entertainment Ireland (MSE Ireland)
Unit 2, Loughlinstown Industrial Estate,
Ballybrack, Co. Dublin, Ireland
Tel: +353 1282 6444
Managing Director: Derek Flett
Multichannel Solutions for
Entertainment UK (MSE UK)
42 The Cutts, Dunmurry, Belfast BT17 9HN
Tel: 02890 432 660
www.msent.co.uk
Managing Director: Graham Lambdon
Storm
Changeover Ltd, 68-74 Carlton Road,
Worksop, Nottinghamshire S80 1PH
Tel: 01909 470 470
www.mystorm.com
Managing Director: John Elliot
General Manager: Lance Hamilton
The Webb Group Ltd
Queen Street, Burton upon Trent,
Staffordshire DE14 3LP
Tel: 01283 566 311
www.thewebbgroup.co.uk
Group Managing Director: Bernard Kumeta
Group Commercial Director: Joe McNicholas
Sales Director Retail: Gerry Hooper
127

DIRECTORY
Wholesale Direct Ltd
Online Commerce Ltd, Unit 45,
Rissington Business Park, Upper Rissington,
Gloucestershire GL54 2QB
Tel: 01451 823 148
www.wdl.com
Managing Director: Steve Graham
Windsong International
Unit 3, Chaffinch Business Park, Croydon Road,
Elmers End, Beckenham, Kent BR3 4AA
Tel: 020 8663 6888
www.windsonginternational.com
DVD Manager: Sanjit Daby
128
Distribution
arvato digital services (Sonopress UK)
Wednesbury One, Black Country New Road,
Wednesbury, West Midlands WS10 7NY
Tel: 0121 502 7800
www.sonopress.co.uk
Business Development Manager: Bob Nichol
Brickbox Digital Media
4th Floor 52 Shaftesbury Avenue,
London W1D 6LP
Tel: 020 7494 9796
www.brickboxdigitalmedia.co.uk
Head of Digital Services: Neil Bottrill
Head of Sales: Mili Cumic
Cinram Operations UK Ltd
2-6 Central Avenue, Ransomes Europark,
Ipswich IP3 9SL
Tel: 01473 271 010
www.cinram.com
Head of Operations: Dave Osmond
Creative services
AGI Media
Bergham Mews, Blythe Road, London W14 0HN
Tel: 020 7605 1940
www.agimedia.com
Design, print and packaging
Ascent 142
Film House, 142 Wardour Street, London W1F 8DD
Tel: 020 7878 000
www.ascent142.co.uk
Post and production
Gem Logistics
Warth Park Way, Raunds, Wellingborough NN9 6NY
Tel: 0845 456 6400
www.gemlogistics.co.uk
General Manager: Matthew Allen
MPO UK Ltd
500 Chiswick High Road, London W4 5RG
Tel: 020 8956 2727
www.mpo.co.uk
Business Development Director: Lee Patterson
Sony DADC
5th Floor Kent House, 14/17 Market Place,
London W1W 8AJ
Tel: 020 7307 9770
www.sonydadc.com
Sales Director: Siegfried Obermayr
Technicolor Disc Services International
Building 1, 3rd Floor, Chiswick Park,
566 Chiswick High Road, London W4 5BY
Tel: 020 8100 1000
www.technicolor.com
VP Sales & Marketing Europe: Jonathan Beardsworth
VDC Group
Units 3 & 4 Nucleus Business Centre,
Central Way, London NW10 7XT
Tel: 020 8963 3555
www.vdcgroup.co.uk
Managing Directors: Ashwin Bedi
and Sanjay Mohindra
Banana Split Productions
11 Carlisle Road, London NW9 0HD
Tel: 020 8200 8200
www.bananasplitprods.com
Production
Brickbox Digital Media
4th Floor, 52 Shaftesbury Avenue, London W1D 6LP
Tel: 020 7494 9796
www.brickboxdigitalmedia.co.uk
Design, dupl/replication, post and restoration

www.sega.co.uk
Cheerful Scout
25-27 Riding House Street, London W1W 7DU
Tel: 020 7291 0444
www.cheerfulscout.com
Design, post and production
Cherry Media
116 Great Portland Street, London W1W 6PJ
Tel: 020 7580 5801
www.cherryuk.com
Design and production
Cinram Operations UK Ltd
2-6 Central Avenue, Ransomes Europark,
Ipswich IP3 9SL
Tel: 01473 271 010
www.cinram.com
Dupl/replication
The Creative Partnership
13 Bateman Street, London W1D 3AF
Tel: 020 7439 7762
www.creativepartnership.co.uk
Design, pos, print and production
Creo
7 Lloyds Wharf, Mill Street, London SE1 2BD
Tel: 020 7064 9820
www.creo-uk.com
Design, digital and pos
De Lane Lea
75 Dean Street, London W1D 3PU
Tel: 020 7432 3800
www.delanelea.co.uk
Dubbing and sound design
Delga Press
Seaplane House, Sir Thomas Longley Road,
Medway City Estate, Rochester, Kent ME2 4DP
Tel: 01634 227 000
www.delga.co.uk
Design, Print, Packaging, Fulfilment
The Delta Group
153-157 Blackhorse Lane, Walthamstow,
London E17 5QZ
Tel: 020 8498 4400
www.thedeltagroup.co.uk
Design, packaging, pos and print
Deluxe Digital Studios
7-11 Lexington Street, London W1F 9AF
Tel: 020 7437 4402
www.bydeluxe.com
Design, post and production
DIRECTORY
Dubbs-Eyeframe
25-26 Poland Street, London W1F 8QN
Tel: 020 7534 4888
www.eyeframe.co.uk
Design, dupl/replication, restoration and post production
Every1
Media House, Blakewater Road, Blackburn BB1 5QR
Tel: 01254 297 770
www.helloevery1.com
Design, packaging, pos and print
Figment Media
34 Foubert’s Place, London W1F 7PX
Tel: 020 7478 7656
www.figment-media.com
Design, post, print and production
Firebelly
351 Richmond Road, Twickenham TW1 2ER
Tel: 020 8843 8300
www.firebellycreative.co.uk
Design, digital and production
Framestore
9 Noel Street, London W1F 8GH
Tel: 020 7208 2600
www.framestore.com
Design, post and production
129

DIRECTORY
Freeform London
4th Floor, Zeppelin Building,
59-61 Farringdon Road, London EC1M 3JB
Tel: 020 7183 6664
www.freeformlondon.co.uk
Design, digital, packaging and print
Gem Creative
St George House, Parkway, Harlow Business Park,
Essex CM19 5QF
Tel: 01279 822 800
www.gem.co.uk
Design and print
Goldcrest Post
1 Lexington Street, London W1F 9AF
Tel: 020 7437 7972
www.goldcrestpost.co.uk
Dubbing, post and production
Hicksville
5 Percy Street, London W1T 1DG
Tel: 020 7636 6404
www.wearehicksville.com
Design, print and production
Kee Scott Creative
39 Doughty Street, London WC1N 2LF
Tel: 020 7400 4170
www.keescott.co.uk
Design, digital, packaging and print
Lick Creative
153-157 Blackhorse Lane, London E17 5QZ
Tel: 020 8498 4400
www.lickcreative.com
Design, packaging and pos
Link Mediapac
Link House, Gardner Road, Maidenhead SL6 7TU
Tel: 0845 345 9888
www.linkmediapac.com
Design and packaging
Lip Sync Creative
195 Wardour Street, London W1F 8ZG
Tel: 020 7292 3000
www.lipsync.co.uk
Mastering and production
Lip Sync Post
123 & 195 Wardour Street, London W1F 8ZG
Tel: 020 7534 9123
www.lipsyncpost.co.uk
Post and production
130
Market Me Ltd
2nd Floor, 7-10 Charlotte Mews, London W1T 4ED
Tel: 020 7462 0400
www.market-me.co.uk
Design, digital and production
Metropolis Group
The Power House, 70 Chiswick High Road,
London W4 1SY
Tel: 020 8742 1111
www.metropolis-group.co.uk
Digital, mastering and production
The Mews
Portland House, 12-13 Greek Street,
London W1D 4DL
Tel: 020 7734 4501
www.themews.tv
Design, duplication and production
Modo
14 Regent Hill, Brighton BN1 3ED
Tel: 01273 779 030
www.modo.co.uk
Packaging and print
MPC
127 Wardour Street, London W1F 0NL
Tel: 020 7434 3100
www.moving-picture.com
Digital, post and production
MPO UK Ltd
500 Chiswick High Road, London W4 5RG
Tel: 020 8956 2727
www.mpo.co.uk
Dupl/replication, mastering and post
Obviously Creative
94 The Maltings, Stanstead Abbotts,
Hertfordshire SG12 8UU
Tel: 01920 877 703
www.obviouslyawebsite.com
Design, digital, print and packaging
The Pavement
1 Lexington Street, London W1F 9AF
Tel: 020 7220 2990
www.thepavement.com
Design, digital, post and production
Pinewood Studios Group
Pinewood Road, Iver Heath, Bucks SL0 0NH
Tel: 01753 651 700
Post, production and restoration

Popcorn Design
303 Coppergate House, 16 Brune Street,
London E1 7NJ
Tel: 020 7953 8499
www.popcorndesign.co.uk
Design, digital and print
Prime Focus
37 Dean Street, London W1D 4PT
Tel: 020 7565 1000
www.primefocusworld.com
Post and production
Scanavo
Roskildevej 328, DK-2630 Taastrup, Denmark
Tel: +45 4355 2700
www.scanavo.com
Packaging
Shorewood Blueprint
The Old Station, Moor Lane, Staines,
Middlesex TW18 4BB
Tel: 020 7183 9666
www.shorewood-blueprint.com
Design, print and packaging
Sonopress UK (arvato digital services UK)
Wednesbury One, Black Country New Road,
Wednesbury, West Midlands WS10 7NY
Tel: 01215 027 800
www.sonopress.co.uk
Dupl/replication
Sony DADC
5th Floor, Kent House, 14-17 Market Place,
London W1W 8AJ
Tel: 020 7307 9770
www.sonydadc.com
Dupl/replication, post and production
STI Packaging and Display
Tileyard Studios, 6 Tileyard Road, London N7 9AH
Tel: 020 7697 3430
www.sti-group.com
Design, packaging, pos and print
St Ives plc
St Ives House, Lavington Street, London SE1 0NX
Tel: 020 7928 8844
www.st-ives.co.uk
Digital, packaging and print
Substance
3rd Floor, 20-23 Greville Street, London EC1N 8SS
Tel: 020 7067 4730
www.substance001.com
TC Soho Ltd
1A Poland Street, London W1F 8PR
Tel: 020 7851 9180
www.tcsoho.tv
Digital, duplication and post
Tea – The Entertainment Agency
2nd Floor, 8-14 Vine Hill, London EC1R 5DX
Tel: 0870 777 1080
www.teacreative.com
Design, digital and print
Tea: Wonderland
3rd Floor East, Portland House,
4 Great Portland Street, London W1W 8QJ
Tel: 0845 603 1437
www.teawonderland.com
Production
Technicolor Disc Services International
Building 1, 3rd Floor, Chiswick Park,
566 Chiswick High Road, London W4 5BY
Tel: 020 8100 1000
www.technicolor.com
Dupl/replication
VDC Group
Units 3 & 4 Nucleus Business Centre,
Central Way, London NW10 7XT
Tel: 020 8963 3555
www.vdcgroup.co.uk
Dupl/replication and mastering
Version Limited
15 Holywell Row, London EC2A 4JB
Tel: 020 7684 5470
www.versioncreative.com
Design, digital and print
What Is Bobo
Suite S210, Ealing Film Studios,
Ealing Green, London W5 5EP
Tel: 020 8758 8418
www.whatisbobo.com
Design
DIRECTORY
WTF Creative
10 Ansdell Street, Kensington, London W8 5BN
Tel: 020 7937 4443
www.wtfcreative.com
Design, packaging and print
Wired
76-78 Charlotte Street, London W1T 4QW
Tel: 020 7580 0171
www.wired.uk.com
131

DIRECTORY
132
Technical services
ClearPlay International
50 Broadway, Suite 504, London SW1H 0RG
Tel: 020 7152 4949
www.clearplayinternational.com
Fortium Technologies Ltd
6 Bridgend Business Centre,
Bennett Street, Bridgend CF31 3SH
Tel: 0845 862 5544
www.fortiumtech.com
OpSec Security Group plc
40 Phoenix Road, Crowther District 3,
Washington, Tyne & Wear NE38 0AD
Tel: 01914 175 434
www.opsecsecurity.com
Rovi Corporation Europe
Malvern House, 14-18 Bell Street,
Maidenhead, Berkshire SL6 1BR
Tel: 01628 677 300
www.rovicorp.com
Vobile Inc
4699 Old Ironsides Drive, Suite 430,
Santa Clara, CA 95054
Tel: +408 217 5000
www.vobileinc.com
Consumer electronics
LG Electronics UK Ltd
LG House, 250 Bath Road, Slough, Berkshire SL1 4DX
Tel: 01753 491 500
www.lge.co.uk
Industry bodies
The Alliance Against IP Theft
c/o BPI, Riverside Building, County Hall,
Westminster Bridge Road, London SE1 7JA
Tel: 020 7803 1324
www.allianceagainstiptheft.co.uk
Director General: Susie Winter
Chair: Lavinia Carey
BPI
Riverside Building, County Hall,
Westminster Bridge Road, London SE1 7JA
Tel: 020 7803 1300
www.bpi.co.uk
Chief Executive: Geoff Taylor
Director of Public Affairs: Theo Blackwell
Director of Communications: Adam Liversage,
Director, Research & Information: Chris Green
Panasonic UK Ltd
Willoughby Road, Bracknell, Berkshire RG12 8FP
Tel: 01344 862 444
www.panasonic.co.uk
Pioneer GB Ltd
Pioneer House, Hollybush Hill, Stoke Poges,
Slough SL2 4QP
Tel: 01753 789 789
www.pioneer.co.uk
Samsung Electronics (UK) Ltd
Samsung House, 1000 Hillswood Drive,
Chertsey, Surrey KT16 0PS
Tel: 01932 455 551
www.samsung.com
Sharp Electronics (UK) Ltd
4 Furzeground Way, Stockley Park,
Uxbridge, Middlesex UB11 1EZ
Tel: 020 8734 2000
www.sharp.co.uk
Sony United Kingdom Ltd
The Heights, Brooklands, Weybridge,
Surrey KT13 0XW
Tel: 01932 816 000
www.sony.co.uk
Toshiba Information Systems UK Ltd
Toshiba House, Weybridge Business Park,
Addlestone Road, Weybridge, Surrey KT15 2UL
Tel: 01932 841 600
www.toshiba.co.uk
British Board of Film Classification (BBFC)
3 Soho Square, London W1D 3HD
Tel: 020 7440 1570
www.bbfc.co.uk
Director: David Cook
Head of Communications: Sue Clark
The British Retail Consortium (BRC)
21 Dartmouth Street, London SW1H 9BP
Tel: 020 7854 8900
www.brc.org.uk
Director General: Stephen Robertson
British Screen Advisory Council (BSAC)
73 Berwick Street, London W1F 8TE
Tel: 020 7287 1111
www.bsac.uk.com
Chairman: Adam Singer
Chief Executive: Fiona Clarke-Hackston

The British Video Association (BVA)
167 Great Portland Street, London W1W 5PE
Tel: 020 7436 0041
www.bva.org.uk
Director General: Lavinia Carey
Cinema Exhibitors’ Association Ltd (CEA)
22 Golden Square, London W1F 9JW
Tel: 020 7734 9551
www.cinemauk.org.uk
Chief Executive: Phil Clapp
Entertainment Retailers Association (ERA)
1st Floor, Colonnade House, 2 Westover Road,
Bournemouth, Dorset BH1 2BY
Tel: 01202 292 063
www.eraltd.org
Director General: Kim Bayley
Federation Against Copyright Theft (FACT)
Europa House, Church Street, Old Isleworth,
Middlesex TW7 6DA
Tel: 020 8568 6646
www.fact-uk.org.uk
Director General: Kieron Sharp
Head of Communications: Eddy Leviten
Film Distributors’ Association Ltd (FDA)
22 Golden Square, London W1F 9JW
Tel: 020 7437 4383
www.launchingfilms.com
Chief Executive: Mark Batey
Industry Trust for IP Awareness
Prospect House, 80-110 New Oxford Street,
London WC1A 1HB
Tel: 020 7079 6230
www.industrytrust.co.uk
Director General: Liz Bales
Marketing Manager: Katy Carter
Intellect
Russell Square House
10-12 Russell Square
London
WC1B 5EE
Tel: 020 7331 2176
Director General: John Higgins
Internet Media in Retail Group (IMRG)
25 Floral Street, Covent Garden, London WC2E 9DS
Tel: 07000 464 674
www.imrg.org
Chief Executive: James Roper
UK Screen Association
47 Beak Street, London W1F 9SE
Tel: 020 7734 6060
www.ukscreenassociation.co.uk
Chief Executive: Gaynor Davenport
Video Standards Council (VSC)
Kinetic Business Centre, Theobald Street,
Borehamwood, Hertfordshire WD6 4PJ
Tel: 020 8387 4020
www.videostandards.org.uk
President: Baroness Shephard
Director General: Laurie Hall
DIRECTORY
The Association for UK Interactive Entertainment
(UKIE)
167 Wardour Street, London W1F 8WP
Tel: 020 7534 0580
www.ukie.info
Chairman: Andy Payne
Director Public Affairs & PR: Daniel Wood
International
Digital Entertainment Group (DEG)
9229 Sunset Boulevard, Suite 405,
Los Angeles, CA 90069
Tel: +310 888 2201
www.dvdinformation.com
Chairman: Darren Linton, VP, New Release Marketing
Chairman, Universal Pictures International Entertainment
Digital Entertainment Group Europe (DEGE)
www.deg-europe.eu
Chairman: Don Hunton
Entertainment Merchants Association (EMA)
16530 Ventura Boulevard, Suite 400,
Encino, CA 91436-4551
Tel: +818 385 1500
www.entmerch.org
Chairman: Bob Geistman
International Video Federation (IVF)
83, Rue Ducale, 1000 Bruxelles, Belgium
Tel: +32 2503 4063
www.ivf-video.org
Director General: Charlotte Lund Thomsen
Motion Picture Association (MPA)
46 Avenue des Arts, B-1000 Bruxelles, Belgium
Tel: +322 778 2711
www.mpaa.org
President and Managing
Director EMEA: Christopher P. Marcich
Motion Picture Association of America (MPAA)
1600 Eye Street, NW, Washington, DC 20006
Tel: +001 202 293 1966
www.mpaa.org
Chief Executive Officer: Christopher J Dodd
National Association
of Recording Merchandisers (NARM)
9 Eves Drive, Suite 120, Marlton, NJ 08053
Tel: +856 596 2221
www.narm.com
Chairman: Rachelle Friedman
133

DIRECTORY
Print media and ABC figures
134
Consumer
N.B. ABC figures given are total average net
circulation per issue
Bauer Media
Mappin House, 4 Winsley Street, London W1W 8HF
Tel: 020 7182 8000
www.bauermedia.co.uk
Publications: Mens Lifestyle: FHM ABC 231,235
(Jul09-Dec09), Zoo ABC 102,043 (Jul09-Dec09),
Entertainment: Empire ABC 194,239, Kerrang! ABC
41,125 (Jul09-Dec09), Mojo ABC 98,484 (Jul09-
Dec09). Women’s: Closer ABC 539,135 (Jul09-Dec09),
Grazia ABC 229,732 (Jul09-Dec09), More! ABC
192,860 (Jul09-Dec09)
Websites: fhm.com, empireonline.com, kerrang.com,
closeronline.co.uk
Condé Nast
Vogue House, Hanover Square, London W1S 1JU
Tel: 020 7499 9080
www.condenast.co.uk
Publications: Men’s Lifestyle: GQ ABC 120,057
(Jul09-Dec09). Women’s Lifestyle: Easy Living
ABC 170,033 (Jul09-Dec09), Glamour ABC 515,281
(Jul09-Dec09), Tatler ABC 86,345 (Jul09-Dec09),
Vanity Fair ABC 102,421 (Jul09-Dec09), Vogue ABC
210,526 (Jul09-Dec09)
Websites: easylivingmagazine.com, wired.co.uk,
vogue.com, glamour.com, gq.com
Dennis Publishing Ltd
30 Cleveland Street, London W1T 4JD
Tel: 020 7907 6000
www.dennis.co.uk
Publications: Men’s Lifestyle: Bizarre ABC 28,979
(Jan09-Dec09), Fortean Times ABC 19,551
(Jan09-Dec09), Men’s Fitness ABC 68,037
(Jul09-Dec09), Viz ABC 76,408 (Jan09-Dec09)
Websites: denofgeek.com, kontraband.com,
maximmag.co.uk, mensfitness.co.uk,
monkeymag.co.uk, viz.co.uk
Future Publishing
30 Monmouth Street, Bath, Avon BA1 2BW
Tel: 01225 442 244
www.futureplc.com
Publications: Computing: Edge ABC 29,007 (Jan09-
Dec09), Ngamer ABC, PlayStation: The Official
Magazine ABC 47,033 (Jan09-Dec09), PSM3 ABC
21,224 (Jan09-Dec09), Xbox 360: The Official
Magazine ABC 60,834 (Jan09-Dec09). Entertainment:
DVD & Blu-ray Review ABC 12,869 (Jan09-Dec09),
Odeon ABC 205,380 (Jul09-Dec09), SFX ABC 31,342
(Jan09-Dec09), Sky Movies ABC 3,387,788 (Jul09-
Dec09), Total Film ABC 81,029 (Jul09-Dec09).
Tech: Home Cinema Choice ABC 9,114 (Jan09-
Dec09), T3 ABC 59,143 (Jan09-Dec09), What
Video and Hi-Def TV ABC 6,004 (Jan09-Dec09)
Websites: Computing: gamesradar.com,
computerandvideogames.com, edge-online.com,
owm.co.uk, psm3mag.com. Tech: techradar.com,
homecinemachoice.com, t3.com. Entertainment:
dvdreview.co.uk, sfx.co.uk, totalfilm.com
Haymarket Media Group
Teddington Studios, Broom Road,
Teddington, Middlesex TW11 9BE
Tel: 020 8267 5000
www.haymarket.com
Publications: Entertainment: Classic FM ABC 32,534
(Jan09-Dec09). Men’s Lifestyle: FourFourTwo ABC
103,216 (Jul09-Dec09), Stuff ABC 95,695 (Jul09-
Dec09), What Hi-Fi? Sound and Vision ABC 47,444
(Jan09-Dec09)
Hello Ltd
Wellington House, 69-71 Upper Ground, London SE1 9PQ
Tel: 020 7667 8901
www.hellomagazine.com
Publication: Hello! Magazine ABC 409,043
(Jul09-Dec09)
IPC Media
Blue Fin Building, 110 Southwark Street,
London SE1 0SU
Tel: 020 3148 5000
www.ipcmedia.com
Publications: Entertainment: NME ABC 38,486
(Jul09-Dec09), TV & Satellite Week ABC 185,813
(Jul09-Dec09), TV Easy ABC 180,798 (Jul09-Dec09).
Men’s: Loaded ABC 71,251 (Jul09-Dec09), Nuts ABC
176,835 (Jul09-Dec09). Women’s: Chat ABC 440,093
(Jul09-Dec09), In Style ABC 184,141 (Jul09-Dec09),
Marie Claire ABC 283,025 (Jul09-Dec09), Pick Me
Up ABC 329,943 (Jul09-Dec09), Soaplife ABC 101,591
(Jul09-Dec09), TV Times 321,005 (Jul09-Dec09),
What’s On TV ABC 1,245,933 (Jul09-Dec09), Woman
ABC 316,216 (Jul09-Dec09), Woman’s Own ABC
298,472 (Jul09-Dec09)

The National Magazine Company Ltd
National Magazine House, 72 Broadwick Street,
London W1F 9EP
Tel: 020 7439 5000
www.natmags.co.uk
Publications: Women’s: Best ABC 301,440 (Jul09-
Dec09), Company ABC 240,035 (Jul09-Dec09),
Cosmopolitan ABC 430,353 (Jul09-Dec09), Good
Housekeeping ABC 430,089 (Jul09-Dec09), Prima
ABC 288,301 (Jul09-Dec09), Real People ABC
216,038 (Jul09-Dec09), Reveal ABC 330,911 (Jul09-
Dec09), Zest ABC 93,130 (Jul09-Dec09). Men’s:
Esquire ABC 59,160 (Jul09-Dec09), Men’s Health
ABC 250,577 (Jul09-Dec09)
Websites: (Hearst Digital): allaboutyou.com,
cosmopolitan.co.uk, company.co.uk,
goodhousekeeping.co.uk, handbag.com, prima.co.uk
Northern & Shell Media Publications
Number 10, Lower Thames Street, London EC3R 6EN
Tel: 020 8612 7000
www.northernandshell.co.uk
Publications: Women’s Lifestyle: New! Magazine ABC
600,741 (Jul09-Dec09), OK! Magazine ABC 588,546
(Jul09-Dec09)
Newspapers
Associated Newspapers Ltd
Northcliffe House, 2 Derry Street, London W8 5TT
Tel: 020 7938 6000
www.associatednewspapers.com
Publications: Daily Mail ABC 2,111,204 (Feb10),
Mail on Sunday ABC 1,978,316 (Feb10), Metro
ABC 1,335,671 (Feb10)
Websites: mailonline.co.uk, metro.co.uk
Guardian Media Group
Kings Place, 90 York Way, London N1 9GU
Tel: 020 3353 2000
www.gmgplc.co.uk
Publications: The Guardian ABC 284,514 (Feb10),
The Observer ABC 342,467 (Feb10)
Websites: guardian.co.uk, observer.co.uk
Financial Times Group
1 Southwark Bridge, London SE1 9HL
Tel: 020 7873 3000
www.ft.com
Publication: The Financial Times ABC 390,203 (Feb10)
Independent News & Media plc
2 Derry Street, London W8 5HF
Tel: 020 7005 2000
Publications: The Independent ABC 183,547 (Feb10),
Independent on Sunday ABC 155,661 (Feb10),
Websites: independent.co.uk
DIRECTORY
London Evening Standard
Evening Standard Ltd, 2 Derry Street, London W8 5TT
Tel: 020 3367 7000
www.standard.co.uk, www.thisislondon.co.uk
Publication: Evening Standard ABC 610,226 (Feb10)
News International
1 Virginia Street, London E98 1XY
Tel: 020 7782 4000 (The Sun/NOTW), 020 7782
5000 (Times)
www.newsinternational.co.uk
Publications: The Sun ABC 2,972,763 (Feb10), News
Of The World ABC 2,993,709 (Feb10) The Times ABC
505,062 (Feb10), Sunday Times ABC 1,122,165 (Feb10)
Websites: thesun.co.uk, notw.co.uk, timesonline.co.uk
Northern & Shell Network
The Northern & Shell Building,
Number 10 Lower Thames Street, London EC3R 6EN
Tel: 020 8612 7000
www.northernandshell.co.uk
Daily Express ABC 672,951 (Feb10), Sunday Express
ABC 575,314 (Feb10), Daily Star ABC 803,859 (Feb10)
Websites: express.co.uk, dailystar.co.uk
Telegraph Media Group
111 Buckingham Palace Road, London SW1W 0DT
Tel: 020 7931 2000
www.telegraph.co.uk
Publications: Telegraph ABC 685,177 (Feb10),
Sunday Telegraph ABC 516,238 (Feb10)
Websites: telegraph.co.uk
Trinity Mirror plc
One Canada Square, Canary Wharf, London E14 5AP
Tel: 020 7293 3000
www.trinitymirror.com
Publications: Daily Mirror ABC 1,234,967 (Feb10),
Sunday Mirror ABC 1,155,975 (Feb10), The People
ABC 541,470 (Feb10), Daily Record ABC 328,183
(Feb10), Sunday Mail ABC397,458 (Feb10)
Websites: mirror.co.uk, sundaymirror.co.uk,
people.co.uk, dailyrecord.co.uk
Business
Centaur Media plc
St Giles House, 50 Poland Street, London W1F 7AX
Tel: 020 7970 4000
www.centaur.co.uk
Publications: Marketing Week, New Media Age
Websites: marketingweek.co.uk, nma.co.uk
135

DIRECTORY
Cue Entertainment
Hoadsbrook, Mockbeggar Lane,
East End, Benenden, Kent TN17 4BG
Tel: 01580 243 441
www.cueentertainment.com,
www.cuesupplychain.com
DVD Intelligence
26 Windridge Close, St Albans AL3 4JP
Tel: 01727 851761
www.dvd-intelligence.com
Emap
Greater London House, Hampstead Road,
London NW1 7EJ
Tel: 020 7728 5000
www.emap.com
Publications: Broadcast, Retail Week,
Screen International
Websites: broadcastnow.co.uk, retail-week.com,
screendaily.com
The Raygun
7 Lightcliffe Road, London, N13 5HD
Tel: 020 8292 5800
www.theraygun.co.uk
Broadcast and online
136
Online
MyMovies.Net Ltd
MyMovies.Net Ltd
40 Oxford Drive, Bermondsey Street, London SE1 2FB
Tel: 020 7940 4910
www.mymovies.net
Commercial Director: Monica Chadha
National Broadcast – TV & radio
Absolute Radio
One Golden Square, London W1F 9DJ
Tel: 020 7434 1215
www.absoluteradio.co.uk
Bauer Media
Mappin House, 4 Winsley Street, London W1W 8HF
Tel: 020 7182 8000
National broadcast: Smash Hits, heat, Magic,
Kiss, Kerrang!, Q, The Hits, The Box
Local and regional radio: City Talk (Liverpool),
Hallam FM (Sheffield), Metro Radio, Radio Borders,
South West Sound, Tay FM, Viking FM, Wave 105
Reed Business Information
3rd Floor Procter House, 1 Procter Street,
London WC1V 6EU
Tel: 020 7911 1701
Publication: Variety
Website: variety.com
Screen Digest
Lymehouse Studios, 30-31 Lyme Street,
London NW1 0EE
Tel: 020 7424 2820
www.screendigest.com
Screen International
Greater London House, 1 Hampstead Road
London NW1 7EJ
020 7728 5000
www.screendaily.com
United Business Media Ltd
Ludgate House, 245 Blackfriars Road,
London SE1 9UY
Tel: 020 7921 5000
www.ubm.com
Publication: Music Week
Website: musicweek.com
BBC
BBC Television Centre, Wood Lane, London W12 7SB
Tel: 020 8743 8000
www.bbc.co.uk
Broadcast channels: BBC One, BBC Two, BBC Three,
BBC Four: National Radio: BBC Radio 1, BBC Radio 2,
BBC Radio 3, BBC Radio 4, BBC Radio Five Live,
1Xtra, 6 Music, BBC Radio 7, BBC Asian Network
British Sky Broadcasting Ltd
Grant Way, Isleworth TW7 5QD
Tel: 020 7705 3000
www.sky.com
Broadcast channels: Sky News, Sky Sports,
Sky Arts, Sky Real Lives, Sky Movies
Websites: sky.com, skysports.com, skyarts.co.uk
Channel 4 Television
124 Horseferry Road, London SW1P 2TX
Tel: 020 7396 4444
www.channel4.com
Chief Executive: David Abrahams
Broadcast channels: Channel 4, Film4,
More4, E4, 4Music
Online: channel4.com, e4.com, film4.com

Channel 5 Broadcasting Ltd
22 Long Acre, London WC2E 9LY
Tel: 020 7421 7270
www.five.tv
Broadcast channels: Five, Fiver, Five USA
Online: Demand Five, Five.tv
Freesat
PO Box 6296, London W1A 3FF
Tel: 0845 313 0051
www.freesat.co.uk
Managing Director: Emma Scott
Global Radio
30 Leicester Square, London WC2H 7LA
Tel: 020 7766 6000
National Radio: Heart, 95.8 Capital FM, Galaxy, Choice,
Hit Music Network, Classic FM, LBC, Xfm, Gold
ITV plc
The London Television Centre, Upper Ground,
London SE1 9LT
Tel: 020 7157 3000
www.itv.com
Broadcast channels: ITV1, ITV2, ITV3, ITV4,
ITV HD, CITV
Online: itv.com/itvplayer
MTV Networks UK & Ireland
17-29 Hawley Crescent, London NW1 8TT
Tel: 020 7284 7513
www.mtvnetworks.co.uk
Broadcast channels: MTV, VH1, Viva, Comedy
Central, Nickelodeon; Websites: mtv.co.uk, uk.viva.tv,
comedycentral.co.uk, nick.co.uk,
Talksport
18 Hatfields, London SE1 8DJ
Tel: 08717 223 344
www.talksport.net
Turner Broadcasting Europe
Turner House, 16 Great Marlborough Street,
London W1F 7HS
Tel: 020 7693 1000
www.europe.turnerinfo.com
Broadcast channels: Boomerang,
Cartoonito, Cartoon Network, TCM
Websites: boomerangtv.co.uk,
cartoonnetwork.co.uk, tcmuk.tv
UKTV Interactive Ltd
160 Great Portland Street, London W1W 5QA
Tel: 020 7299 5000
www.uktv.co.uk
National Broadcast: G.O.L.D., Dave, Alibi, Home,
Really, Good Food, Yesterday, Eden, Blighty, Watch
DIRECTORY
Virgin Media Television Ltd
160 Great Portland Street, London W1W 5QA
Tel: 020 7299 5000
www.virginmediatv.co.uk
National Broadcast: Living, Virgin1, Bravo, Challenge
Websites: virgin1.co.uk, livingtv.co.uk, bravo.co.uk
VOD/on-demand
4oD
124 Horseferry Road, London SW1P 2TX
Tel: 020 7396 4444
www.4od.com
Channel 4 Head of Online Products:
Richard Davidson-Houston
BBC iPlayer
BBC Broadcasting House, Portland Place,
London W1A 1AA
Tel: 0370 010 0222
www.bbc.co.uk/iplayer
Blinkbox Entertainment Ltd
20-24 Kirby Street, London EC1N 8TS
Tel: 020 7092 8700
www.blinkbox.com
CEO: Michael Comish
British Sky Broadcasting Ltd
Grant Way, Isleworth TW7 5QD
Tel: 020 7705 3000
www.sky.com
CEO: Jeremy Darroch
BT Vision
BT Centre, 81 Newgate Street, London EC1A 7AJ
Tel: 020 7356 5000
www.btvision.co.uk
CEO: Marc Watson
Cinebox
Moviemail, 5 Stucley Place, London NW1 8NS
Tel: 0844 776 0900
www.moviemail-online.co.uk
Managing Director: Carol Hunter
Coolroom
Tel: 020 7837 1116
www.coolroom.com
Managing Director: Rupert Fleming
Hulu
12312 West Olympic Blvd, Los Angeles, CA 90064, US
Tel: +310 571 4700
www.hulu.com
CEO: Jason Kilar
137

DIRECTORY
ITV Player
The London Television Centre,
Upper Ground, London SE1 9LT
Tel: 020 7157 3000
www.itv.com/itvplayer
Director Online: Ben McOwen Wilson
LOVEFiLM
No.9, 6 Portal Way, London W3 6RU
Tel: 020 8896 8000
www.lovefilm.com
CEO: Simon Calver
138
Screening rooms
BAFTA
195 Piccadilly, London W1J 9LN
Tel: 020 7734 0022
www.bafta.org
Facilities: Princess Anne Theatre 227,
Run Run Shaw Theatre 40
BFI IMAX
1 Charlie Chaplin Walk, South Bank, London SE1 8XR
Tel: 0870 787 2525
www.bfi.org.uk
Facilities: Auditorium 500
BFI Southbank
Belvedere Road, South Bank, London SE1 8XT
Tel: 020 7928 3535
www.bfi.org.uk
Facilities: NFT1 450, NFT2 147, NFT3 134, The Studio 38
BFI Viewing Theatres
21 Stephen Street, London W1T 1LN
Tel: 020 7957 8976
www.bfi.org.uk
Facilities: Theatre One 36 Theatre Two 36
Charlotte Street Hotel
15-17 Charlotte Street Hotel, London W1T 1RJ
Tel: 020 7806 2000
www.charlottestreethotel.co.uk
Facilities: Private Cinema 74
Courthouse Hotel
19-21 Great Marlborough Street, London W1F 7HL
Tel: 020 7297 5555
www.courthouse-hotel.com
Facilities: Private Cinema 94
MSN Video Player
Cardinal Place, 100 Victoria Street, London SW1E 5JL
Tel: 0844 800 2400
Managing Director (Consumer & Online):
Ashley Highfield
SeeSaw IPTV Ltd
Liberty House, 222 Regent Street, London W1B 5TR
www.seesaw.com
CEO: Pierre-Jean Sebert
Virgin Media
Media House, Bartley Wood Business Park,
Hook, Hampshire RG27 9UP
Tel: 01256 752 000
www.virginmedia.com
CEO: Neil Berkett
Venues – cinema exhibitors and screening rooms
Covent Garden Hotel
10 Monmouth Street, London WC2H 9HB
Tel: 020 7806 1000
www.coventgardenhotel.co.uk
Facilities: Private Cinema 47
De Lane Lea
75 Dean Street, London W1D 3PU
Tel: 020 7432 3800
www.delanelea.co.uk
Facilities: Preview Theatre 37
The Electric Cinema
191 Portobello Road, London W11 2ED
Tel: 020 7908 9696
www.electriccinema.co.uk
Facilities: Cinema 98 + Sofas 4
Framestore
9 Noel Street, London W1F 8GH
Tel: 020 7208 2600
www.framestore.com
Facilities: Screening Room 63
Goldcrest Post
1 Lexington Street, London W1F 9AF
Tel: 020 7437 7972
www.goldcrestpost.co.uk
Facilities: Screening Room 45
The Groucho Club
45 Dean Street, London W1D 4QB
Tel: 020 7439 4685
www.thegrouchoclub.com
Facilities: The Mary-Lou Room 50

The Hospital
24 Endell Street, London WC2H 9HQ
Tel: 020 7170 9100
www.thehospitalclub.com
Facilities: Screening Room 36
Imperial War Museum
Lambeth Road, London SE1 6HZ
Tel: 020 7416 5000
www.iwm.org.uk
Facilities: Cinema 200
London Transport Museum
Covent Garden Piazza, London WC2E 7BB
Tel: 020 7379 6344
www.ltmuseum.co.uk
Facilities: Cubic Theatre 121
ZSL London Zoo
Outer Circle, Regent’s Park, London NW1 4RY
Tel: 020 7722 3333
www.zsl.org
Facilities: Huxley Lecture Theatre 200
The Mayf air Hotel
Stratton Street, London W1J 8LT
Tel: 020 7629 7777
www.themayfairhotel.co.uk
Facilities: The May Fair Theatre 201
Metropolis Studios
The Power House, 70 Chiswick High Road,
London W4 1SY
Tel: 020 8742 1111
www.metropolis-group.co.uk
Facilities: Studio space 75 (seated/standing)
Millbank Cinema and Media Centre
21-24 Millbank Tower, Millbank, London SW1P 4PQ
Tel: 0845 500 3500
www.millbanklondon.com
Facilities: Cinema 400
MPC Screening Room
127 Wardour Street, London W1F 0NL
Tel: 020 7434 3100
www.moving-picture.com
Facilities: Screening Room 75
One Aldwych
1 Aldwych, London WC2B 4RH
Tel: 020 7300 1000
www.onealdwych.com
Facilities: Screening R oom 30
Rich Mix
35-47 Bethnal Green Road, London E1 6LA
Tel: 020 7613 7490
www.richmix.org.uk
Facilities: Screen One 181, Screen Two 132,
Screen Three 59
Roxy Bar & Screen
128-132 Borough High Street, London SE1 1LB
Tel: 020 7407 4057
www.roxybarandscreen.com
Facilities: Screening Room 90-110
Science Museum IMAX Cinema
Science Museum, Exhibition Road,
Kensington, London SW7 2DD
Tel: 0870 870 4868
www.sciencemuseum.org.uk
Facilities: Cinema 416
The Soho Hotel
4 Richmond Mews, London W1D 3DH
Tel: 020 7559 3000
www.sohohotel.com
Facilities: Screening Room One 100,
Screening Room Two 45
Soho House 21
21 Old Compton Street, London W1D 5JJ
Tel: 020 7292 0122
www.sohohouselondon.com
Facilities: The Cinema 27
Soho Screening Rooms
14 D’Arblay Street, London W1F 8DY
Tel: 020 7437 1771
www.sohoscreeningrooms.co.uk
Facilities: Theatre One 41, Theatre Two 25,
Theatre Three 44
Somerset House
Strand, London WC2R 1LA
Tel: 020 7845 4618
www.somersethouse.org.uk
Facilities: Screening Room 60
Westbourne Studios
242 Acklam Road, London W10 5JJ
Tel: 020 7575 3000
www.westbournestudios.com
Facilities: Auditorium 82
DIRECTORY
139

DIRECTORY
140
Cinema Exhibitors
Apollo Piccadilly Circus
19 Lower Regent Street, London SW1Y 4LR
Tel: 0871 220 6000
www.apollocinemas.com
Facilities: Screen One 88, Screen Two 59, Screen
Three 40, Screen Four 168, Screen Five 126
Cineworld
Power Road Studios, Power Road, Chiswick,
London W4 5PY
Tel: 020 8987 5000
www.cineworld.com
Total Cinemas: 77 Total Screens: 790 (incl. Ireland)
Curzon Cinemas
2nd Floor, 20-22 Stukeley Street, London WC2B 5lR
Tel: 020 7438 9586
www.curzoncinemas.com
Total Cinemas: 5 Total Screens: 9
Empire Cinemas
Empire Studios, The Empire, Leicester Square,
London WC2H 7NA
Tel: 020 7534 0820
www.empirecinemas.co.uk
Total Cinemas: 17 Total Screens: 144
Genesis Cinema
93-95 Mile End Road, Whitechapel, London E1 4UJ
Tel: 020 7780 2000
www.genesiscinema.co.uk
Facilities: Screen One 566, Screen Two 150, Screen
Three 150, Screen Four 100, Screen Five 100
ICA
12 Carlton House Terrace, London SW1Y 5AH
Tel: 020 7930 0493
www.ica.org.uk
Facilities: Cinema One 185, Cinema Two 45
Research/data supply
BVA Research
c/o British Video Association,
167 Great Portland Street, London W1W 5PE
Tel: 020 7436 0041
www.bva.org.uk
Experian Hitwise
6th Floor, Cardinal Place,
80 Victoria Street, London SW1E 5JL
Tel: 020 3042 4794
www.hitwise.co.uk
Odeon
54 Whitcomb Street, London WC2H 7DN
Tel: 020 7321 0404
www.odeon.co.uk
Total Cinemas: 105 Total Screens: 831
Picturehouse
City Screen Ltd, 16-18 Beak Street, London W1F 9RD
Tel: 020 7734 4342
www.picturehouses.co.uk
Total Cinemas: 19
The Prince Charles Cinema
7 Leicester Place, London WC2H 7BY
Tel: 020 7494 3654
www.princecharlescinema.com
Facilities: Large Screen 285, Small Screen 104
Rio Cinema
107 Kingsland High Street, London E8
Tel: 020 7241 9410
www.riocinema.ndirect.co.uk
Facilities: Cinema 402
Riverside Studios
Crisp Road, Hammersmith, London W6 9RL
Tel: 020 8237 1000
www.riversidestudios.co.uk
Facilities: Cinema 200
Showcase Cinemas
NATL Amusements (UK) Ltd, Redfield Way,
Lenton, Nottingham NG7 2UW
Tel: 01159 862 508
www.showcasecinemas.co.uk
Total Cinemas: 21 Total Screens: 279
Vue Cinemas
10 Chiswick Park, 566 Chiswick High Road,
London W4 5XS
Tel: 020 8396 0100
www.myvue.com
Total Cinemas: 69 Total Screens: 654
Futuresource Consulting Ltd
Kensworth Gate, 200-204 High Street South,
Dunstable, Bedfordshire LU6 3HS
Tel: 01582 500 100
www.futuresource-consulting.com
GfK Retail and Technology UK
Sheer House, Station Approach,
West Byfleet, Surrey KT14 6NL
Tel: 0870 603 8100
www.gfkrt.com

Harris Interactive
Vantage West, 6th Floor, Great West Road,
Brentford TW8 9AG
Tel: 020 8263 5200
www.harrisinteractive.com
IPSOS
Ipsos Mori House, 77-81 Borough Road,
London SE1 1FY
Tel: 020 7347 3000
www.ipsos-mori.com
Kantar Worldpanel UK
Westgate, Hanger Lane, London W5 1UA
Tel: 020 8967 0007
www.kantarworldpanel.com
Millward Brown
24-28 Bloomsbury Way, London WC1A 2PX
Tel: 020 7126 5000
www.millwardbrown.com
Mintel
18-19 Long Lane, London EC1A 9PL
Tel: 020 7606 4533
www.mintel.com
Netimperative
Digital Strategy Consulting, The Digital Hub,
18 Rupert Street, London W1D 6DE
Tel: 020 7287 0087
www.netimperative.com
Official Charts Company
Riverside Building, County Hall,
Westminster Bridge Road, London SE1 7JA
Tel: 020 7620 7450
www.theofficialcharts.com
IHS Screen Digest
Lymehouse Studios, 30-31 Lyme Street,
London NW1 0EE
Tel: 020 7424 2820
www.screendigest.co.uk
Verdict Research Ltd
119 Farringdon Road, London EC1R 3DA
Tel: 020 7551 9750
www.verdict.co.uk
West10 Entertainment
G16 Shepherd’s Building, Rockley Road,
London W14 0DA
Tel: 020 3393 8291
www.west10entertainment.co.uk
DIRECTORY
141

DIRECTORY
142
Directory at a glance
2entertain 1 14
4Digital Media Limited 1 14
4DVD 1 14
4oD 137
Abbey Home Media Group plc 1 14
Absolute Radio 136
Acorn Media UK 1 14
Aegis Group plc 124
AGI Media 128
Aim Publicity 125
The Alliance Against IP Theft 132
Amazon.co.uk 121
Anchor Bay Entertainment (UK) Ltd 1 14
Apollo Piccadilly Circus 140
Argos Ltd 121
Arrow Films 1 14
Artefact Media 1 14
Artificial Eye Film Company Ltd 1 14
arvato digital services UK (Sonopress UK) 128
Ascent 142 128
Asda 121
Associated Newspapers Ltd 136
The Associates 125
Avid Entertainment Ltd 1 14
Axiom Films 1 14
BAFTA 138
Banana Split Productions 128
Barrington Harvey 125
Bauer Media 134, 136
BBC 136
BBC iPlayer 137
BBC Worldwide Ltd 1 14
Beckmann Visual Publishing 1 14
Beez Entertainment 1 14
Best Buy UK 121
Bezier Group 124
BFI 1 15
BFI IMAX 138
BFI Southbank 138
BFI Viewing Theatre 138
Blinkbox Entertainment Ltd 121, 139
Blockbuster Entertainment Ltd 121
Blue Barracuda UK 124
Bluebell Films 1 15
Blue Dolphin Films 1 15
Blue Rubicon 125
Borkowski PR 125
Boulevard Entertainment Ltd 1 15
BPI 132
Brickbox Digital Media 128
Brightspark Productions Ltd 1 15
British Board of Film Classification (BBFC) 132
The British Retail Consortium (BRC) 132
British Screen Advisory Council (BSAC) 132
British Sky Broadcasting Ltd 136, 139
The British Video Association (BVA) 133
BT Vision 137
Bubble & Squeak 125
BVA Research 140
Camrose Media Ltd 1 15
Carat 124
CBS Outdoor 124
Centaur Media plc 135
Channel 4 Television 136
Channel 5 Broadcasting Ltd 137
Charlotte Street Hotel 138
Cheerful Scout 129
Cherry Media 129
Chipsworld Ltd 121
ChoicesUK 121
Cinebox 137
Cinema Exhibitors’ Association Ltd (CEA) 133
Cineworld 140
Cinram Operations UK Ltd 128, 129
Classic Media 1 17
Clear Channel Outdoor UK 124
ClearPlay International 132
Clear Vision 115
Cohn & Wolfe 125
Comet Group plc 121
The Communications Practice 125
Condé Nast 134
Consolidated Communications 125
Coolroom 121, 137
The Co-operative Group 121
Cornerstone Media International Ltd 1 15, 123
Costco Wholesale UK Ltd 121
Courthouse Hotel 138
Coutts Creative 124
Covent Garden Hotel 138
CPM 125
The Creative Partnership 129
Creo 129
Crownville Ltd 127
Cue Entertainment 136
Curzon Cinemas 140
DCC plc 127
DDA PR 125
De Lane Lea 129, 138
Delanic Films Ltd 115

Delga Press 1 29
The Delta Group 124, 129
Delta Leisure Group 1 15
Deluxe Digital Studios 1 29
Demand Media 1 15
Dennis Publishing Ltd 134
Digital Classics DVD 1 15
Digital Entertainment Group (DEG) 133
Digital Entertainment Group Europe (DEGE) 133
Discount Video (Leyton) Limited 127
Discstribution Ltd 127
Diviniti Publishing Ltd 1 15
DNA PR Ltd 125
DNC Entertainment Ltd 1 15
Dogwoof 1 15
Drakes Avenue Pictures Ltd 1 16
DSG International plc (Currys, PC World) 121
Dubbs-Eyeframe 129
Duke Marketing Ltd 1 16
DVD Intelligence 136
Eagle Rock Entertainment Ltd 1 16
The Electric Cinema 138
Element Pictures 1 16
Elevation Sales Ltd 123
Emap 136
EMI Music UK and Ireland 1 16
Empire Cinemas 140
Entertainment In Video 1 16
Entertainment Merchants Association (EMA) 133
Entertainment One UK 1 16
Entertainment Retailers Association (ERA) 134
Eros International 1 16
ESD Wholesale 127
Eureka Entertainment Ltd 1 16
Every1 129
Experian Hitwise 140
Federation Against Copyright Theft (FACT) 133
Figment Media 129
Film Distributors’ Association Ltd (FDA) 133
Filmtone (UK) Ltd 127
The Financial Times Group 135
Firebelly 125, 129
Fizz Communications 125
Forbidden Planet 121
Fortium Technologies Ltd 132
Framestore 129, 138
Frank PR 125
Freeform London 130
Freesat 137
FremantleMedia 116
Freshwater Consumer 125
Freud Communications 125
Fusion Media Sales Ltd 123
Future Publishing 134
DIRECTORY
Futuresource Consulting Ltd 140
The Game Group plc 121
Gardners Books 127
Gem Creative 130
Gem Distribution Ltd 123
Gem Logistics 128
Genesis Cinema 140
GfK Retail and Technology UK 140
Global Radio 137
Go Entertain 1 16
Goldcrest Post 130, 138
Good Guys Media Ltd 1 16
Gorilla Nation UK 124
The Groucho Club 138
The Guardian Media Group 136
Guerilla Films Ltd 1 16
G2 Entertainment 1 16
Harris Interactive 141
Haymarket Media Group 134
Hello Ltd 134
Hicksville 130
High Fliers Films plc 1 17
HIT Entertainment 1 17
HMV UK & Ireland 122
Homebase Ltd 122
The Hospital 139
Hulu 137
The Hut Group 122
Ian Monk Associates Ltd 126
ICA 140
Icon Home Entertainment 1 17
ILC Media 1 17
IMC Vision Ltd 1 17
Imperial War Museum 139
Independent News & Media plc 135
Indigo Pearl 126
Industry Trust for IP Awareness 133
Infinity Media Ltd 1 17
Intellect 133
International Video Federation (IVF) 133
Internet Media in Retail Group (IMRG) 133
IPC Media 134
IPSOS 141
ITV plc 137
ITV Player 138
ITV Studios Home Entertainment 1 17
Jackie Cooper PR 126
JCDecaux 124
JustMedia Ltd 124
Kaleidoscope Home Entertainment 1 17
Kantar Worldpanel UK 141
Kee Scott Creative 130
Ketchum Pleon 126
Lace Digital Media Sales 124
143

DIRECTORY
Lace DMS (Ireland Limited) 1 1 7
Lace DVD 1 1 7
Lasgo Chrysalis 127
LG Electronics UK Ltd 132
Library Multimedia Supplies Ltd 127
Lick Creative 130
Link Mediapac 130
Lionsgate UK 1 1 7
Lip Sync Creative 130
Lip Sync Post 130
London Evening Standard 135
London Tranport Museum 139
ZSL London Zoo 139
LOVEFiLM 122, 140
Luther Pendragon 126
Manga Entertainment Ltd (UK) 1 1 7
Mark Collins PR 126
Market Me Ltd 126, 130
Marks & Spencer Group plc 122
The Mayfair Hotel 139
MBL Group plc 127
Media Communications Ltd 126
MediaCom UK 124
Media Sales UK Ltd 123
Metrodome Group plc 1 1 7
Metropolis Group 1 1 7
Metropolis Studios 139
The Mews 130
Millbank Cinema & Media Centre 139
Millward Brown 141
Mindshare 124
Mintel 141
Mischief PR 126
MJ Media 124
Modo 130
Momentum Pictures 1 18
Morrisons Supermarkets plc 122
Motion Picture Association (MPA) 133
Motion Picture Association of America (MPAA) 133
Moviemail 122
MPC 130
MPD 124
MPO UK Ltd 128, 130
MPS Screening Room 139
Mr Bongo Films 1 18
MSN Video Player 138
MTV Networks UK & Ireland 137
Multichannel Solutions for
Entertainment Ireland (MSE Ireland) 127
Multichannel Solutions for
Entertainment UK (MSE UK) 127
MVM Entertainment Ltd 1 18
144
MyMovies.Net Ltd 136
National Association of
Recording Merchandisers (NARM) 133
The National Magazine Company Ltd 135
Nelson Bostock Communications 126
Netimperative 141
Network Distributing 1 18
News International 135
Northern & Shell Media Publications 135
Northern & Shell Network 135
Nouveaux Pictures 1 18
NPN Videos 1 18
Nucleus Films 1 18
Obviously Creative 130
Odeon 140
Odeon and Sky Filmworks 1 18
Odeon Entertainment Ltd 1 18
Official Charts Company 141
OMD UK Group 125
One Aldwych 139
Online Commerce Ltd 122
OpSec Security Group plc 132
Optimum Releasing 1 18
Organic Marketing 126
Palisades Tartan UK 1 18
Panasonic UK Ltd 132
Paramount Home Entertainment UK 1 18
Park Circus Ltd 1 18
Pathé UK 1 18
The Pavement 130
Peccadillo Pictures 1 18
Pegasus Entertainment 1 18
Peter Noble PR 126
PIAS Comedy 1 18
PIAS UK Ltd 1 19
Picturehouse 140
Pinewood Studios Group 130
Pioneer GB Ltd 132
Play.com (Webworks Ltd, Webfactory Ltd) 122
Popcorn Design 131
Poundland Ltd 122
Poundstretcher 122
PPR Publicity 126
Premier PR 126
PR Genie 126
Prime Focus 131
Primesight 125
The Prince Charles Cinema 140
Quantum Leap Group 1 19
The Ray Gun 136
RDA Communications 126
Redemption Films 1 19

Reed Business Information 136
Resonate Communications Ltd 126
Revelation Films Ltd 1 19
Revolver Entertainment 1 19
Rich Mix 139
Rio Cinema 140
Riverside Studios 140
Romley Davies Publicity 126
Rovi Corporation Europe 132
Roxy Bar & Screen 139
Sainbury’s Supermarkets Ltd 122
Salvation Group 1 19
Samsung Electronics (UK) Ltd 132
Scanavo 131
Scanbox Entertainment 1 19
Science Museum IMAX cinema 139
Screen Digest 137, 141
Screen International 136
Second Sight 1 19
SeeSaw IPTV Ltd 139
Severin Films 1 19
Sharp Electronics (UK) Ltd 132
Shine Communications 126
Shorewood Blueprint 131
Showbox Home Entertainment 1 19
Showbox Media Group Ltd 123
Showcase Cinemas 140
Simply Media 1 19
Soda Pictures 1 19
The Soho Hotel 138
Soho House 139
Soho Screening Rooms 139
Somerset House 139
Sonopress UK (arvato digital services UK) 131
Sony DADC 128, 131
Sony Music Entertainment (Ireland) Ltd 1 19
Sony Music Entertainment UK Ltd 1 19
Sony Pictures Home Entertainment 1 19
Sony United Kingdom Ltd 132
Spar (UK) Ltd 122
Spirit Entertainment Ltd 124
Stax Entertainment Ltd 1 19
STI Packaging and Display 131
St Ives plc 131
Storm 127
Substance 131
Talksport 137
Target Entertainment Group 120
Target Media 125
Taylor Herring 126
TC Soho Ltd 131
Tea – The Entertainment Agency 131
DIRECTORY
Tea: Wonderland 131
Technicolor Disc Services International 128, 131
Telegraph Media Group 135
Tesco plc 122
TLA Releasing 120
Toshiba Information Systems UK Ltd 132
Toys R Us 123
Trinity Mirror plc 135
Turner Broadcasting Europe 137
Turner Broadcasting Systems Europe Ltd 120
Twentieth Century Fox Home Entertainment 120
UKIE – The Association for UK
Interactive Entertainment 143
UK Screen Association 133
UKTV Interactive Ltd 137
United Business Media Ltd 136
Universal Music (UK) Ltd 120
Universal Pictures (UK) Ltd 120
VDC Group 128, 131
Verdict Research Ltd 141
Version Limited 131
Vertigo Films 120
Verve Pictures Ltd 120
Video Standards Council (VSC) 133
Virgin Media 137, 138
Virgin Media Television Ltd 138
Vizeum UK 125
Vobile Inc 132
Voiceprint 120
Vue Cinemas 140
Waitrose Ltd 123
Walt Disney Studios Home Entertainment 120
Warner Home Video UK & Eire 120
Warner Music Entertainment 120
Waterstone’s 123
The Webb Group Ltd 127
West10 Entertainment 141
Westbourne Studios 139
What Is Bobo 131
Wholesale Direct Ltd 128
WH Smith High Street 123
Wienerworld 120
Windsong International 128
Wired 126, 131
Woodlore 120
The Works 123
WTF Creative 131
Yume Pictures 120
Zenith Optimedia 125
145

With grateful thanks
STATISTICAL SECTION COMPILED BY:
ANGELA HAYES
Research Consultant to the BVA
THE BVA WOULD LIKE TO ACKNOWLEDGE THE
FOLLOWING ORGANISATIONS FOR THEIR HELP
IN SUPPLYING DATA:
British Phonographic Industry (BPI)
Chart-Track
GfK
Kantar Worldpanel
Millward Brown
Muze Europe
Official Charts Company
IHS Screen Digest
UK Film Council
West10 Entertainment
DESIGN BY SHERRY
www.sherrydesign.co.uk
146
DIRECTORY
YEARBOOK PUBLISHED BY
BRITISH VIDEO ASSOCIATION
167 Great Portland Street
London
W1W 5PE
Tel: 020 7436 0041
Fax: 020 7436 0043
www.bva.org.uk
For general BVA enquiries, contact general@bva.org.uk
No part of this publication may be transmitted in
any form or by any means electronic or mechanical
including photocopying and recording without
permission in writing.
BVA members receive complimentary copies of the
Yearbook. If you are interested in joining the BVA,
please contact us.
© British Video Association
All rights reserved
ISBN 978-0-9555736-4-4