Video and video on demand in Europe
The exploitation of audiovisual works, and films in particular, is traditionally based on two pillars: a release windows chronology, mainly agreed upon on a contractual level, with theatres being the first (usually exclusive) window and a territory by territory exploitation of rights.
This study examines the presence of EU content in Video-on-Demand services.
Focusing on the supply and circulation of TV channels and on-demand audiovisual media services in Europe, this new report outlines a) the country of origin of services b) the availability of services and c) those services targeting other countries.
Focusing on a selection of major pan-European groups in both the broadcast and the distribution markets, this new report outlines some of the key players, their geographical footprint, their position in a range of markets, and their most recent strategies regarding expansion, acquisition and...
How do films circulate on EU VOD services? How do films circulate in EU cinemas? How many theatrical release films make it to VOD? How does circulation in cinemas and VOD compare?
This note provides an overall background of the on-demand audiovisual media services landscape by focusing on a) the availability of services in the EU28 and b) on the country of origin of services.
Linear audiovisual services increasingly tend to propose non-linear derived versions whose revenues are not necessarily accounted separately
Total on demand revenues almost quadrupled from 2010 to 2014. This report focuses on the increase of revenues generated by the three main on-demand audiovisual services: TVOD, SVOD and TV VOD.
This report focuses on the most recent figures available for television and for online video viewing.