Feasibility Study of a Digital Platform for the delivery of UK ... - BFI

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UK FILM COUNCIL Third, the definition of ‘independent’ and ‘specialised’ must be construed as widely as possible, not only to encompass all UK independent rights holders, but also to give the service a commercial edge by offering better known titles to drive traffic. This view was supported significantly by the bigger labels, such as Entertainment, Pathe and Tartan. However, in contrast, the smaller labels interviewed raised the concern that a wider definition of studio titles would lead to the inclusion of too many major studio titles at the expense of the smaller independents. The concern seemed to appear from the definitions used in the Digital Screen Network and the anecdotal practices adopted by the cinemas with digital projectors favouring better-known titles such as ‘Sideways’ to drive audiences. In reality, this is unlikely to be an issue in an on-demand environment (and even less so over the Internet) given that there is almost no limitation on ‘shelf-space’. Moreover, of the UK independent and specialised films lists for 2003 and 2004, only 36 of the 521 total titles were released by the Hollywood studios --- equivalent to 7 per cent of all releases. However, the studio titles accounted for 12 per cent of all theatrical revenues from specialised films in the two years combined (most of which was generated in 2003 when the studio share of the independent and specialised market revenue was almost 20 per cent from 8 per cent of releases). A greater concern from almost every single rights holder interviewed seemed to be that a platform was needed to support the UK film industry. That is, there needs to be a greater emphasis on a ‘UK independent film’ platform than just a ‘specialised film’ platform. The prospect of a somewhat guaranteed distribution mechanism in one window and showcasing on a dedicated platform/channel --- whether being offered for on-demand rental or digital sell-through over the Internet --- seems to be considered an opportunity to increase the commercial viability of some content (and as such to a relative degree to drive investment). Feasibility Study for a Digital Platform for the delivery of Independent UK films and Specialised films to the Home UK Film Council © 2006 30
UK FILM COUNCIL 4. Existing digital on-demand platforms Platform issues and summary • The near Video-on-Demand (NVoD) market remains limited by ‘shelf space’ for content and is not currently serving demand for specialised and independent film. • Operators in the true Video-on-Demand environment see diversity of content and breadth of choice as a unique selling point for the technology and their services. • UK VoD operators in the cable, IPTV and Internet space are universally open to bringing specialised content on to their services. • Operators are generally flexible regarding branding and marketing within the on-demand space and willing to explore a range of options. • Prior exposure of content in other broadcast exploitation windows is an issue for operators and impacts the value they put on content deals. • A degree of exclusivity is also considered important and impacts value and willingness to work with particular content providers. • A number of operators are open to the idea of an on-demand channel that could be exploited across multiple platforms. Feasibility Study for a Digital Platform for the delivery of Independent UK films and Specialised films to the Home UK Film Council © 2006 31
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