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European film and TV series seasons represented 32% of all content found on TVOD and 27% of SVOD in the EU

The European Audiovisual Observatory publishes a new report on Film and TV content on VOD in Europe
Strasbourg, France 08 December 2020
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European film and TV series seasons represented 32% of all content found on TVOD and 27% of SVOD in the EU


 

Download "Film and TV content in VOD catalogues, 2020 edition" here

Key insights (based on data from May 2020):

  • On transactional Video-on-Demand (TVOD), 22% of films and TV series were of EU27 origin, 8% came from the UK and 2% from other European countries. 
  • On TVOD, the number of single film titles was six times bigger than the number of individual TV seasons available, and 3.4 times bigger on SVOD (Subscription Video On Demand).
  • TVOD catalogues had a larger number of titles (film + TV content) on average than SVOD catalogues and were more focused on films.
  • There was more European content on TVOD, and at the same time more national content on TVOD than on SVOD.
  • For TVOD, the majority of content was found in catalogues of services owned by tech players (Amazon, Apple, Microsoft or Google for example) and on SVOD the majority of content was available on services owned by pure VOD and tech players.

The European Audiovisual Observatory has just updated its annual report on Film and TV content in VOD catalogues. This new report was authored by Christian Grece and Marta Jiménez Pumares, TV and VOD Analysts within the Observatory’s Department for Market Information. The film catalogue data is from May 2020 and comes from JustWatch, Filmtoro, La Pantalla Digital and EUROVOD; the TV content data, from May 2020, was supplied by JustWatch. This report was supported by the Creative Europe Programme of the European Commission.

A few key findings from this new free report:

1. There were more single film titles available on VOD than individual TV seasons (counting anything that is labelled ‘TV’ by the VOD services analysed)

  • But much more TV content if we count the number of episodes.
  • On average, there was three times more TV episodes than film titles offered on TVOD, nine times more on SVOD.


Source: JustWatch, Filmtoro, La Pantalla Digital, EUROVOD catalogue data

 

2. There was slightly more European content available on TVOD than on SVOD

  • European content accounted for 32% of all content available on TVOD and 27% of all content of SVOD (counting single films and TV seasons)
  • When TV episodes were considered, the share of European content remained at 31% on TVOD but was 21% on SVOD; series from outside Europe tend to offer more episodes than European series.


Source: JustWatch, Filmtoro, La Pantalla Digital, EUROVOD catalogue data 

 

3. Most European content in VOD catalogues was non-national

  • TVOD has a higher share of national film and TV content than SVOD services
  • For all types of service, European non-national content made up the majority of European content


Source: JustWatch, Filmtoro, La Pantalla Digital, EUROVOD catalogue data

 

4. UK was the main provider of European TV content

  • The UK accounted for 12% of all TV seasons available on VOD. For films, the UK provided 8% of titles on TVOD and 6% on SVOD.


Source: JustWatch

 

5. Among EU27, France and Germany were the biggest exporters of EU27 content on VOD.

  • On TVOD, French film and German TV seasons were the most exported EU27 content


Source: JustWatch, Filmtoro, La Pantalla Digital, EUROVOD catalogue data

  • On SVOD, French content, together with German represented almost half of all content originating from EU27. With Spanish and Italian content, it reached two thirds of content originating from EU27.


Source: JustWatch, Filmtoro, La Pantalla Digital, EUROVOD catalogue data

 

6. On TVOD, the majority of the content available was in the catalogues of services owned by tech players, on SVOD tech and pure VOD players represented the bulk of content

  • On TVOD, the bulk of film titles and TV seasons (70%) was found in catalogues of tech players.
  • On SVOD, pure VOD players and tech players offered two thirds of all film titles and TV seasons.
  • For both business models, over 70% of the works available were offered by tech and pure VOD players while services operated by incumbent TV and Telecom players made up 30% of the content offer on SVOD and 15% on TVOD.


Source: JustWatch, Filmtoro, La Pantalla Digital, EUROVOD catalogue data

Methodology
The film data in this report is based on May 2020 catalogue data from JustWatch, Filmtoro, La Pantalla and EUROVOD taken from 138 TVOD catalogues and 185 SVOD catalogues. The TV content data is based on JustWatch data from 160 SVOD catalogues and on 47 TVOD catalogues and was collected in May 2020.

For the origin of a title, only the first country of production was considered. The production countries are based on data collected from the European Audiovisual Observatory’s LUMIERE database on admissions to films in Europe, IMDb and the Movie database.

Four regions of origin for a title were considered: ‘EU27’ titles have an EU27 country as first production country, ‘Other European’ (EUR OBS) titles have as a first production country a European country part of the European Audiovisual Observatory, ‘US’ titles from the United States of America and ‘Other region’/’Other international’ titles from all other countries.

 

 


Featured workshop Featured workshop
Strasbourg, France, Online Workshop 10 December 2020
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Diversity and inclusion in the European audiovisual industries: both on and off-screen

Workshop 10 December 2020.

Highlights

  • Session 1 - “Diversity and inclusion off-screen” will examine under-representation behind the camera. What is the situation off-screen? How inclusive is the world of film and television? Themes include equal employment conditions and  training opportunities for minority and under-represented groups.
  • Session 2 - “Diversity and inclusion on-screen” will discuss about how to promote inclusion and non-discrimination on screen/air. Themes include best practices for measuring the perception of D&I on screen/air, how film funds encourage broader on-screen diversity, and broadcaster long-term strategies for promoting D&I on air. 

Presentations

Session 1-  D&I Off-screen

UK diversity data: methods and results: Amy Turton, Project Manager, Creative Diversity Network, Diamond

 The gender pay gap: good practices against inequality: Pauline Durand-Vialle, CEO, FERA - Federation of European Screen Directors

 Highlights from the “Good Practice Handbook”: Daphne Tepper, Director, UNI Europa

Session 2 - D&I on-screen

 Introduction: Sophie Valais, Senior Legal Analyst, EAO

 Promoting D&I on-air: a comprehensive and long-term strategy: Miranda Wayland, Head of Creative Diversity at BBC

 Assessing the perception of diversity on TV: the CSA Barometer: Géraldine Van Hille, Head of Department for Social Cohesion Missions, CSA, France

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