4Kids Entertainment’s annual report 451–452
50/50 coproductions 134–135, 137–139
90/10 minimum guarantee deals 162–163
abuse of systems and credits 141–142
activity range distribution 9–16
adjusted gross: break-even points 586
advances 261, 264, 461–466, 574–575
advertising: ad-skipping 310–313; net profits 573–574, 575; online distribution 382–383, 426–428, 548–550; television distribution 305–317, 359; theatrical marketing 514–540, 551–556; see also commercials; marketing
advertising-supported video-on-demand (AVOD) 278–279, 426–428
agents: licensing revenue 465–466
aggregators: pay television 333–334
Amazon 370, 379–381, 388, 397–400
ancillary advances 115
ancillary revenues 445–496; see also revenues
Anti-Counterfeiting Trade Agreement (ACTA) 79–80, 88
app markets: merchandising revenue 453–455; online distribution 383, 389–395, 409–411; pay television 320–324, 360; television distribution 389–390, 409–411; theatrical marketing 534
Art Buchwald v. Paramount Pictures 562–563
artificial break-even points 578–579
artwork: video marketing 543
Asian theatrical distribution 191–193
at-the-source recognition 572–573
average revenue per paying user (ARPPU) 475–476
awareness locomotives 147
benefits of D-cinema 157
Betafilm 352
blind bidding 149
block bookings 149
blockbuster accelerated decays 182–183
books 447–448, 471–472, 478–480
box artwork 543
box office 16, 23–26, 109, 110, 144–146, 158–160, 166–168, 182–193
branding 22
budgets: films 498–513, 514–540; marketing 498–544, 546; studios 26–28, 110–112; television 43–45, 546; theatrical productions 514–540; video marketing 541–544
cable television 272–274, 277–278, 282–286, 302–305; channel range and quantity 43–53; financing production 128–129; free television 277–278; licenses 286; original programming 302–305; revenues 483–491; theatrical feature films 282–285; TV series economics 302–305
cash break-even points 585
catch-up services 370
changing distribution windows 40–43
checking: net profits 569
Clive Cussler v. Philip Anschutz Company 563
cloud services 78–79, 361, 408–422
collapsed distribution windows 39–40, 51–52
commercials: television distribution 311–315, 546; theatrical marketing 523–540, 554; video marketing 543; see also advertising
compact discs (CDs) 211
compressed sales cycles 223–226
computers: history 215; video markets 196
consent decrees 149
consistent consumer pricing 229–230
content interaction tools 416–422
coproductions: financing production 103–112, 123–124, 134–143; international markets 350–356; Kirch group 351–356; online considerations 139–143; studio financing 103–112; television distribution 350–356
copying and downloads 82–90; see also piracy
copyrights: digital considerations 74, 75–76; intellectual property assets 71–80; law 72–73; nature 74–75; segmentation 74–75; see also intellectual property assets
cord-cutting 80–82, 361, 383–386, 394–395
costs: development processes 66–68; DVDs 264–269; intellectual property assets 66–68; international markets 342–345; net profits 569–570, 573–576, 580; television distribution 342–345; video markets 237–240, 264–269
creative collaboration 136–139
critics 100
cross-platform usage 215
crowdsourcing 120–122, 143, 342–345
daily active users 474
data analytics, merchandising revenue 472–478
day-and-date release 166, 507–508
debt financings 104
dedicated hardware boxes 383–386
demand creation strategies 508–513
demise of joint ventures 19–22
developing intellectual property assets 56, 57–68
digital: access points 53–55; cinema (D-cinema) 151–160, 195; considerations, copyright 74, 75–76; divide 151–160; film rental 158–160; lockers 397–400; technologies 145, 151–160; upfront markets 307–315; video recorders (DVRs) 310–311, 313, 315, 356–359; Digital Millennium Copyright Act (DMCA) 75–76
directors, intellectual property assets 59–60
direct-to-video markets 218–220
Disney: McDonald’s promotional partnership 510; video sell-through markets 209–210
distribution: activity ranges 9–16; costs 268–269, 573–574, 580; definitions 5–9; fees 126–127, 570–572; infrastructures 4–9; intellectual property assets 56–90; loss-leaders 145–147; marketing 497; rental models 92; revenue streams 12–16; rights 74–75, 135–136, 137–139; television channel range and quantity 43–53; television distribution 280–285; value drivers 5–9; windows 36, 49–53
distributor–exhibitor splits/deals 160–166
diversity: Internet 55; studios and networks 1–55; television channel networks 43–45
domestic viewing revenues 484–491
downloads: Amazon 397–400; DVDs 215–216; intellectual property assets 82–90; online distribution 366–367, 368–369, 441–444; pay-per-download ownership 429–431; revenues 441–444; studios 422–423; video markets 198, 206
dues, net profits 569
duties, net profits 569
DVDs: airline revenues 492; cash flows 259–264; compressed sales cycles 223–226; computers 215; copying threats 215–216; cost considerations 264–269; curve peaking 223–226; economics 259–269; emergence 210–218; e-tailers 230–234, 270; fallback release outlets 219–220; formats 250–251; future directions 269–270; history 200, 205–215; international market variations 255–258; inventory management 243–255; kiosks 231, 232–234; life cycles 243–251; loss-leading products 229–230; marketing programs 223–243; mass-market chains 226–230; maturation 223–226; mechanics of 211–212; Netflix 231–232, 234–240, 369, 400–402; next-generation DVDs 220–223; next-generation retail environments 230–243; online distribution 230–243, 257–258, 270–271, 367, 369, 397, 400–402, 411, 423–425; parallel imports 212–215; pay television 331; physical disc inventory management 243–255; physical retailers 423–425; piracy 211–215, 271, 367; pricing 229–230, 243–255; profits 243–255, 259–269; recordable devices 215–217; Redbox 231, 232–234; rentals 231–243; retail environments 203–210, 223–255; returns management 243–251; revenues 217–218, 235–236, 240–243, 259–269; royalties 259–264; SKU variables 250–251; speed adoption 215; stock management 243–251; streaming distribution 369, 397, 400–402, 411; subscription rental 231–232, 234–240; television distribution 272–274; theatrical marketing 555–556; transitions 210–218; video marketing 541–543; video-on-demand 486–487; Warner Bros, history of 214–215; window movements 240–243; see also video markets
early roots of video markets 199–201
economics: airline revenues 493–494; DVDs 259–269; financing production 98–101; hotel/motel revenues 482; licensing revenue 461–466; non-theatrical market revenues 494–495; online distribution 425–437; output deals 326–328; pay-as-you-view revenues 488–490; pay television 345–350; television distribution 285–305; video markets 259–269; video-on-demand 488–490
efficiency: intellectual property assets 68–69
electronic-sell-through advantages: DVDs 267–268
emergence: direct-to-video markets 218–220; DVDs 210–218; made-for video markets 218–220
equity investments 104, 106–110, 134–135
European Digital Media Association (EdiMA) 89
exhibition days 319
exhibitor–distributor splits/deals 160–166
experience goods 98–101, 497–498
external marketing factors 504–507
fear factors: online distribution 366–367, 368–369
feature films 280–299; fees 287–289; licenses 282–289; runs 280–282, 285–287; terms 285–287
feedback loops, intellectual property assets 60–61
fees: feature films 287–289; financing production 126–127; net profits 569, 570–572; pay television 318–319, 338; free television 339–402
films: budgets 498–513, 514–540; feature films 280–299; film clip revenues 478–480; firm terms 165; film ultimates 35–43; financing production 91–114, 116–124; marketing 498–513, 514–540, 551–557; merchandising revenue 456, 495; niche marketing 499–501; online distribution 145, 171–172, 194–195, 499–501, 517–518, 528–536, 554–555; pre-release windows 552–553; primary distribution windows 36; release factors 501–508, 551–556; rental 158–160, 161–166; revenue cycles 36–39; social games 477–478; theatrical distribution 144–195, 514–540
finance: cable television 128–129; coproductions 103–112, 123–124, 134–143; creative collaboration 136–139; crowdsourcing 120–122, 143; deficit continuum 130–131; economic theories 98–101; equity investments 104, 106–110, 134–135; 50/50 coproductions 134–135, 137–139; film 91–114, 116–124; government-backed coproductions 140–143; hedging risks 134–143; hybrid coproduction 137–139; independent financing 113–116; international schemes 140–142; leveraging 106–110, 123–124; network television 128; online considerations 93–98, 131–133, 139–143; producers 124–127; production 91–143; production collaboration 136–139; product placement marketing 512–513; product production challenges 101–102; rent-a-distributor model 124–127; risk 92, 98–101, 130–143; state tax subsidies 140–143; studio financing 92, 102–112; tax subsidies 140–143; television 91–99, 113–115, 127–134, 299–305; see also revenues
formats: Blu-ray 220–223; distribution activity ranges 10; DVDs 211, 250–251; HD-DVD 220–223; history 199–203
Fox 104, 124–125, 148, 152–156, 210, 241–243, 295, 452
free television distribution 276–278, 359; cable networks 277–278; high margins 341–342; independent stations 277; international markets 340–342; licenses 340–341; market segmentation 276–278; national networks 276–277
free video-on-demand (FVOD) 278–280, 358–359
fulfilment: video markets 246–247
future directions: DVDs 269–270; pay television 333–334
FVOD see free video-on-demand
games 196, 448, 471–478, 495, 539–540, 554
genres: pipeline and portfolio 29–30; television 45–46
government-backed coproductions 140–143
Grokster case, the 76–84, 79, 216, 365, 366
gross participations 574–575, 579
growth: digital cinema 151–157; television distribution 339–340; video markets 197, 199–205
guarantees: licensing revenue 461–466; theatrical distribution 161, 162–163
Heller, K. L. 89
high budgets 27
history: DVDs 200, 205–217; net profits 561–567; online distribution 361–369, 442–444; television distribution 339–340; theatrical distribution 149–160; video markets 199–217
Hollywood: intellectual property assets 79–80
Hollywood accounting 127, 558–586
Hollywood guild negotiations 441–444
home video business 196–271; see also video markets
hotel/motel revenues 446, 480–483
Hulu 370, 377–379, 402–405, 426–428
independent free television stations 277
independent online markets 382–383
independent’s dilemma, revenue 15–16
individual title values 328–329
in-flight entertainment revenues 446, 491–494
initial break-even points 584–585
intellectual property assets 56–90; cloud services 78–79; copies 82–90; copyright 71–80; cord-cutting 80–82; costs 66–68; creating ideas 56, 57–68; development processes 56, 57–68; downloads 82–90; file sharing 76–78; Grokster case 76–78; illegal copies/downloads 82–90; Internet 61–66; life-cycle management 35–43; marketing 69–71; on-demand catch up 78–79; online considerations 61–66, 75–79, 82–90; optioning properties 68–69; peer-to-peer file sharing 76–78; piracy 71–72, 76–80, 82–90; pitching ideas 69–71; protecting content 56, 71–90; remote storage 78–79; storage 78–79; streaming live television 80–82; television 61–66, 80–82; theft 82–90; trademarks 82
interest, net profits 576
interlocking, theatrical booking 180–181
intermediate video formats 216–217
internal marketing factors 503–504
international bookings 189–193
international box office release 166–168, 193
international festivals 527–528
International Herald Tribune 80, 118, 221, 344–345, 479; see also notes (pp. 597–606)
international markets/services: coproductions 350–356; costs 342–345; crowdsourcing 342–345; DVDs 255–258; film revenue cycles 38–39; financing production 140–142; free television 340–342; growth 339–340; history 339–340; hotel/motel revenues 483; network screenings 291; online distribution 405–406, 409–411; pay-as-you-view revenues 490–491; pay television 345–350; streaming networks 405–406; television distribution 291, 339–356, 409–411; video markets 255–258; video-on-demand revenues 490–491
Internet 361–444; budgets 29; crowdsourcing 120–122; intellectual property assets 61–66; market opportunities and segmentation 53–55; pipeline and portfolio 30–31; television distribution 315–316; see also online
investment: D-cinema 153; distribution rights 135–136, 137–139; equity stakes 104, 106–110, 134–135
joint ventures 16–22; branding 22; demise of 19–22; Internet 55; scale needs 22
Kill, G. 322
Kramer, J. 397
Kutcher, A. 532
labels, studios as defined by product ranges 24–29
launch trailers 521–522, 552–553
legal considerations: copyright 72–73; lawsuits 76–78, 79, 201–203, 562–564; online distribution 437–444; studios 437–444; video markets 199–201
Levinsohn, P. 550
licensed products/property 460
licenses/licensing: cable networks 286; content rights 74–75; definitions 456–458; feature films 282–289; free television 340–341; joint ventures 18–19; net profits 569; pay television 317–319, 336–339; revenue 456–466; television distribution 282–289, 317–319
life-cycles: DVDs 243–251; intellectual property assets 35–43; television channel range and quantity 49–53; video markets 243–251
limited opening budgets 499–501
live + ratings concept 313–316
live stage production revenues 478–480
local independent stations 277
location considerations: theatrical booking 175–177; video markets 257
logistics: video markets 246–247
long tail considerations 298–299
Lord of the Rings, The 564
low budgets 27
McCabe, J. 488
McDonald’s, Disney promotional partnership 510
made-for video markets 218–220
market encompassing distribution activity ranges 9–16
market evolution: television distribution 280–285; theatrical distribution 149–160
marketing 497–557; budgets 498–544, 546; costs 268–269; date release strategies 507–508; day-and-date release strategies 507–508; demand creation strategies 508–513; DVDs 223–243; films 498–513, 514–540, 551–557; game tie-ins 539–540; intellectual property assets 56–90; limited opening budgets 499–501; mega-films 551–556; merchandising 509–512, 539–540, 554; online distribution 439–441, 499–501, 517–518, 528–536, 548–550, 554–557; piracy 556; product placements 512–513, 552; promotional partnerships 509–512, 538–539; release factors 499–508, 551–556; strategies 498–513; talent involvement 508–509, 525; television distribution 514, 519–520, 546–548, 556; theatrical distribution 145–166, 514–540, 551–556; third-party help 508–513; timing considerations 501–508, 551–556; video marketing 540–546; video markets 199–210; viral messaging 500–501
market leaders, pay television 349–350
media costs 514–520, 526, 541–557
merchandising: licensing program revenues 456–466; marketing 509–512, 539–540, 554; program anchors 82; revenues 446–480, 495–496; toy revenues 447, 452–455, 466–480
metrics: social games 473–477; video-on-demand 279–280
Metro-Goldwyn-Mayer v. Grokster, Ltd 76–78, 79
MGM Worldwide Television 17–18, 22, 110, 149, 273, 553
minimum guarantees 162–163, 461–466
money making strategies 558–586
monthly active users 474
moratorium: video markets 254
Motion Picture Association of America (MPAA): intellectual property assets 79, 83–84, 86–88; online distribution 365; theatrical distribution 166–167, 515
MPA: intellectual property assets 79
MSOs: streaming online distribution 407–408
multiplexes: pay television 319, 320–324, 359; theatrical distribution 150–151
multi-screen access 361, 389–390
Museum of Broadcast Communications 299–300
music industry 366–367, 478–480
national free television networks 276–277
Netflix: competition 237–240; content costs 237–240; cost considerations 237–240; DVDs 231–232, 234–240; online distribution 365, 369–373, 395–396, 400–402; physical business decline 237; Qwikster debacle 235–236; rights 239; streaming focus 237; subscription rental growth 234–235; video markets 231–232, 234–240
net profits: advances 574–575; advertising 573–574, 575; at-the-source recognition 572–573; breakeven points 578–579; calculation 567–580; costs 569–570, 573–576, 580; deferments 574–575; distribution costs 573–574; distribution fees 570–572; excluded revenues 567–568; fees 569, 570–572; gross participations 574–575, 579; history 561–567; imputed costs 575–576; included revenues 567–568; money making strategies 558–586; moving targets 578–579; negative costs 574, 576; online accounting 558–560, 580–584, 586; phantom revenues 576–577; revenue sharing 558–560, 580–584, 586; taxes 576–577
networks: coverage, television 291–294; diverse roles 1–55; financing production 128; licenses 282–285; online distribution 361, 369–381, 408–422; television channel diversity, quantity and reach 43–45; venture capitalists 91–143
new distribution windows: life-cycle management 40–43
next-generation retail environments 230–243
non-theatrical market revenues 446, 494–495
off-balance sheet financings 104–106
off-network syndication 296–297
online distribution 361–444, 548–550, 558–560, 580–584, 586; accounting 558–560, 580–584, 586; advertising 382–383, 426–428, 548–550; Amazon 370, 379–381, 388, 397–400; app markets 383, 389–395, 409–411; break-even points 586; cable bundle pricing 433–436; channel streaming 406–408; cloud services 361, 408–422; content tiers 433–436; convergence considerations 363–365; cord-cutting 361, 383–386, 394–395; dedicated hardware boxes 383–386; developing intellectual property assets 61–66; downloads 366–367, 368–369; DVDs 230–243, 257–258, 270–271, 367; economics 425–437; films 145, 171–172, 194–195, 499–501, 517–518, 528–536, 554–555; financing production 93–98, 131–133, 139–143; Google 437–441; hardware boxes 383–386; history 361–369; hubs 386–392; Hulu 370, 377–379, 402–405; independent markets 382–383; integrating television distribution 388–392; intellectual property assets 61–66, 75–79, 82–90; international services 405–406, 409–411; legal considerations 437–444; Louis C.K. experiment 413–414; marketing 439–441, 499–501, 517–518, 528–536, 548–550, 554–557; merchandising revenue 453–456; multipurpose boxes 386–388; multiscreen access 361, 389–390; music industry 366–367; Netflix 365, 369–373, 395–396, 400–402; networks 361, 369–381, 408–422; New Millennium 362–369; on-demand markets 368–369; original content 369–381; over-the-top access 383, 391; ownership considerations 423–433; pay-per-download ownership 429–431; personalization 416–422; physical retailers 423–425; pipeline and portfolio 30–31; piracy 76–79, 82–90, 366–367; resistance considerations 437–444; revenues 425–437, 453–456, 469–478, 495–496; revenue sharing accounting 558–560, 580–584, 586; search engines 381–382; smartphones 390–391, 392–395, 417–422; social game revenues 472–478; socialization 416–422; social media 316–317; social networking 550; streaming networks 369–381, 395–408, 426–428; studios 382–383, 422–425, 437–444; subscriptions 397–400, 431–433; tablets 391–395; television 61–66, 131–133, 272–274, 278–280, 297–299, 315–317, 359–360, 383–395, 408–413, 416–422, 426–436, 548–549; theatrical distribution 145, 171–172, 194–195, 499–501, 517–518, 528–536, 554–555; toy revenue 469–471; transactional video-on-demand 428–433; UltraViolet consortium 408–409, 411; user experience influences 363; video content consumption 362–369; video markets 230–243, 257–258, 270–271; video-on-demand 368–369, 426–433; YouTube 370, 374–377, 413–416, 437–441
opportunity costs: television marketing 546
original programming 302–305, 329–333
overheads 13–14, 16–17, 575–576
ownership considerations 423–433
Pacific, theatrical distribution 191–193
Paramount 17–18, 22, 26, 103–107, 127, 148–149, 345–348, 355, 509, 553, 562, 591, 607
pay-per-download ownership 429–431
pay-per-view (PPV) revenues 446, 481, 483–491, 496
pay television 317–339, 359–360; aggregators 333–334; app markets 320–324; broadcast monopolies 346–348; deal terms 336–339; DVDs 331; economics 345–350; exhibition days 319; fees 318–319, 338; financing production 129–130; flexible schemes 334–336; future directions 333–334; international markets 345–350; licenses 317–319, 336–339; market leaders 349–350; monopolies 346–348; multiplex channels 319, 320–324, 359; online distribution 369–370; on-the-go services 320–324; original programming 329–333; output deals 324–332; piracy 320–321, 359; product monopolies 346–348; ratings 331–332; revenue 329–332; rights 338–339; runs 319, 336–337; scale needs 346–348; subscription video-on-demand 334–336; terms 337–338; trendsetters 349–350; video-on-demand 331, 334–336
peer-to-peer file sharing 76–78
personalization: online television distribution 416–422
Peter Jackson v. New Line 564
PFD see production–financing–distribution
physical disc inventory management 243–255
physical rental business decline 237
physical retailers 237
pilots 290
pipeline: distribution revenue streams 14; joint ventures 16–17; studios as defined by product ranges 29–35
piracy: DVDs 211–215, 271, 367; intellectual property assets 71–72, 76–80, 82–90; marketing 556; music industry 366–367; online distribution 367; pay television 320–321, 359; video markets 211–215, 271
portable systems, video markets 196
portfolios: studios as defined by product ranges 29–35; television channel range and quantity 46–49
positive control 15
posters 522–523, 543–544, 552–553
PR: marketing 523–528, 531–536, 544–545, 547, 554
premiums 465
press: marketing 523–528, 544–545, 547, 552–553
price/pricing: DVDs 229–230, 243–255; erosion 254–255; protection 252–253; reductions 251–252; video markets 243–255, 257–258
primary distribution windows 36
private equity investments 106–110
producers: financing production 124–127
product: monopolies 346–348; placements 93–95, 512–513, 552; production challenges 101–102; quantity 43–53; ranges 22–35, 43–53
product diversification 222–223
production: collaboration 136–139; costs 580; loss-leaders 145–147; slate 103–112
production–financing–distribution (PFD) deals 102–103
profiling release patterns 147–149
profits: DVDs 243–255, 259–269; gross profits 567–581; net profits 558–586; participation accounting 560–561, 584–586; theatrical distribution 147; video markets 196, 243–255, 259–269
programming sales renaissance 412–413
programming schedules/lead-ins 547
promotional partnerships 509–512, 538–539
property travels 190
protecting distribution windows 39–40
providers: pay-as-you-view revenues 485–486; video-on-demand 485–486
purchase/sell-through markets 205–210
quality control: licensing revenue 458–460
quantity: studios as defined by product ranges 23–24; television channels 43–53
ratings 280–285, 305–317, 331–332
reach: television channels 43–53
recommendation engines 416–422
recoupment, royalties 261, 264
reduced distribution fees 126–127
regional encoding 214
relationships: studios as defined by product ranges 24–29
release strategies/timing: decay curves and drop-offs 181–189; marketing 499–508, 551–556; online considerations, theatrical distribution 171–172; pattern profiling 147–149; theatrical distribution 147–149, 166–172; video markets 255–258
remakes 34
remote streaming access 397–400
rent-a-distributor model 124–127
rentals: DVDs 231–243; video markets 201, 203–210, 231–243
replenishments, video markets 246–247
residential video-on-demand 484–491
residuals: net profits 570
retail buy-in and support 457–458
retail environments: DVDs 223–255; retail execution 543–544; video markets 203–210, 223–255, 543–544
returns: DreamWorks Animation 248–250; DVDs 243–251; Pixar 248–250; reserves 248–250; video markets 243–251
revenues 445–496; acceleration 169–171; airlines 446, 491–494; books 447–448, 471–472, 478–480; cable transmission 483–491; distribution 12–16; DVDs 217–218, 235–236, 240–243, 259–269; film clips 478–480; films 36–39; financing production 127; Hollywood accounting 558–586; hotels/motels 446, 480–483; joint ventures 18–19; licensing programs 456–466; live stage productions 478–480; merchandising 446–480, 495–496; money making strategies 558–586; motels 446, 480–483; music 478–480; net profits 558–586; non-theatrical markets 446, 494–495; online accounting 558–560, 580–584, 586; online distribution 425–437, 453–456, 469–478, 495–496; pay-per-view 446, 481, 483–491, 496; pay television 329–332; sharing 558–560, 580–584, 586; television channel range and quantity 49–53; television distribution 272–273; toys 447, 452–455, 466–480, 495; trademarks 456–466; transactional video-on-demand 446, 483–491; transmedia 447–449; video markets 196–197, 202, 205–210, 217–218, 235–236, 240–243, 259–269; video-on-demand 446, 481, 483–491, 496; see also finance
review sites 145
rights: copyright 74; licensing revenue 460–461; Netflix 239; non-theatrical market revenues 446, 494–495; pay television 338–339
ring tones 496
risk: experience goods 98–101; financing production 92, 98–101, 130–143; hedging 134–143; merchandising revenue 449–456; shouldering 92; television 130–133
Roffman, H. 471
rolling break-even points 586
royalties: advances 261, 264; DVDs 259–264; licensing revenue 463–464; recoupment 261, 264; video markets 259–264
runs: feature films 280–282, 285–287; pay television 319, 336–337; television distribution 319, 336–337; theatrical distribution 161, 177–178
Sahara case–Clive Cussler v. Philip Anschutz Company 563
scale needs: joint ventures 22; pay television 346–348
scatter markets 308
Schmitz, K. (aka Kim Dotcom) 84–85
screenings: theatrical distribution 173, 526–527, 554
seasonality: film marketing 501–508
segmentation 1–55; copyright 74–75; free television 276–278; television channel range and quantity 47–49
settlement: theatrical distribution 165
shared windows: television distribution 282–285
shifting distribution windows 39–43, 50–52
short tail considerations 298–299
skipping advertisements 310–313
Sky (also BSkyB) 20, 319, 345, 349, 409–412
smartphones 390–391, 392–395, 417–422
sneaks 173
social media 145, 316–317, 361
social networking 100–101, 531–536, 550
Sony 77, 79, 199–203, 387, 388
Sony Corp. v. Universal City Studios 201–203
specialization: television channels 43–53
specialized markets 10
speed adoption, DVDs 215
Star Wars 283–284, 447–449, 466–468
Stop Online Piracy Act (SOPA) 79–80, 88
streaming: networks 369–381, 395–408, 426–428; television 80–82, 297–299; video 231–232, 234–240
studios: budgets 26–28, 110–112; coproductions 103–112; defined by product ranges 22–35; distribution infrastructures 4–9; diverse roles 1–55; fund investments 110–112; downloads 422–423; equity investments 104, 106–110; films 92; financing 92, 102–112; hedge funds 106–110; Internet 55; joint ventures 16–22; legal considerations 437–444; off-balance sheet financings 104–106; online distribution 382–383, 422–425, 437–444; private equity investments 106–110; production slate 103–112; product ranges 22–35; range of product 22–35; rent-a-distributor model 124–127; slates 103–112; venture capitalists 91–143
style ranges 30
subscriptions: Amazon 397–400; DVDs 231–232, 234–240; online distribution 397–400, 431–433; video-on-demand 334–336
success correlation: theatrical marketing budgets 518–520
talent involvement 508–509, 525
tariffs 569
teaser trailers 521–522, 552–553
technology titans versus Hollywood 79–80
television distribution 272–360; ad-skipping 310–313; advertising sales 305–317, 359; app markets 389–390, 409–411; barter 291–297; brand extension 34–35; budgets 43–45, 546; cable television 272–274, 277–278, 282–286, 302–305; channels defined by range and quantity 43–53; channel streaming 406–408; cloud services 408–413, 416–422; commercials 311–315, 546; coproductions 350–356; costs, international markets 342–345; crowdsourcing 342–345; deficit continuum 130–131; digital upfront markets 307–315; digital video recorders 310–311, 313, 315, 356–359; direct costs 546; distribution patterns 280–285; DVDs 272–274; economics 285–305; feature films 280–299; fees 318–319; finance 91–99, 113–115, 127–134, 299–305; fin/syn rules 299–305; first-run syndication 296–297; first-run TV series 289–291; free television 276–278, 359; free video-on-demand 278–280, 358–359; genres 45–46; growth 339–340; history 339–340; hubs 386–392; integration 388–392; intellectual property assets 61–66, 80–82; international markets/services 291, 339–356, 409–411; licenses 282–289, 317–319; live + ratings concept 313–315; live + still ratings concept 314–315; long tail considerations 298–299; market evolution 280–285; marketing 514, 519–520, 546–548, 556; media costs 546–548; merchandising revenue 448, 449–452, 495; multipurpose boxes 386–388; network coverage 291–294; network licenses 282–285; Nielsen ratings 308–311; offnetwork syndication 296–297; online distribution 61–66, 131–133, 272–274, 278–280, 297–299, 315–317, 359–360, 383–392, 408–413, 416–422, 426–436, 548–549; pay television 317–339, 359–360; personalization 416–422; pickups 291; pilots 290; pitch season 289–290; PR 547; press 547; programming sales renaissance 412–413; programming schedules/lead-ins 547; ratings 280–285, 305–317; repeats 343, 359; risk 130–133; runs 280–282, 319, 336–337; scatter markets 308; series economics 301–305; shared windows 282–285; short tail considerations 298–299; smartphones 390–391, 392–395, 417–422; socialization 416–422; social media 316–317; streaming services 297–299; syndication 291–305; theatrical feature films 280–289; theatrical marketing budgets 514, 519–520; timing considerations 289–290, 291–294; TiVo 357–358; traditional ratings 308–311; upfront markets 305–317; US free television 276–278; video-on-demand 272–273, 278–280, 298–299, 315, 357, 358–360; windowing 272, 280–285
tentpole budgets 27–28, 110–112, 521–522
terms: pay television 337–338; television distribution 285–287
theatrical booking 175–193; blockbuster accelerated decays 182–183; decay curves 181–189; drop-offs 181–189; frenzy of booking 176–177; interlocking 180–181; location considerations 175–177; per-screen averages 179–181; prints 178–179; run lengths 177–178; screen counts 178–179
theatrical distribution 144–195; accelerated revenues 169–171; advertising 514–540, 551–556; aggregate deals 163–164, 194; Asia 191–193; bankruptcies 150–151; blogs 531–536; bookings 175–193; boom international markets 193; box office 145–146, 158–160, 166–168, 187–193; budgets 514–540; China 191–193; commercials 523–540, 554; competition 168–169; concessions 193–194; creative execution 523–540; D-cinema (digital cinema) 151–160, 195; digital divide 151–160; digital film rental 158–160; digital technologies 145, 151–160; direct costs 514–523; distributor–exhibitor splits/deals 160–166; DVDs 555–556; Europe 191; exhibitor–distributor splits/deals 160–166; exhibitor meetings 526–527; festivals 527–528; films 158–160, 161–166, 514–540; four-wall deals 165–166; guarantee deals 161, 162–163; hedging bets 147–149; history 149–160; house nut deals 161, 163–164; indirect costs 538–540; interactivity 529–531; international bookings 189–193; international box office release 166–168, 193; loss-leaders 145–147; major chain bankruptcies 150–151; market evolution 149–160; marketing 145–166, 514–540, 551–556; market research 536–538; media costs 514–520; media promotions 526, 551–556; microblogs 531–536; minimum guarantee deals 162–163; multiplexes 150–151; net sum 540; online distribution 145, 171–172, 194–195, 517–518, 528–536, 554–555; Pacific 191–193; pattern profiling 147–149; posters 522–523, 552–553; post-release windows 555–556; PR 523–528, 531–536, 554; press 523–528, 552–553; profiling release patterns 147–149; property travel 190; ratings decline, television distribution 280–285; record books 172–175; release strategies/timing 147–149, 166–172; rental 158–160, 161–166; revenue acceleration 169–171; runs 161, 177–178, 280–282; screenings 173, 526–527, 554; settlement 165; social networking 531–536; success, correlation of 518–520; television distribution 280–289; theatrical booking 175–193; third-party costs 538–540; timing release strategies 166–172; trailers 520–522, 528–531, 552–553; US box office release 166–168; websites 528–531; weekend release openings 172–175; zones 161, 175–176
theft, copyright (piracy), 82–90
third-party marketing 508–513, 538–540, 544–545
three dimensional (3D) films 158–160
timing considerations: first-run TV series 289–290; licensing revenue 458–459; release factors 501–508, 551–556; television distribution 289–290, 291–294; theatrical distribution 166–172
toys: revenues 447, 452–455, 466–480, 495
trade fees 569
trailers 520–522, 528–531, 543–544, 548, 552–553
transactional video-on-demand 231–232, 270, 428–433, 446, 483–491
trendsetters: pay television 349–350
20th Century Fox 153–156, 210, 241–243
UltraViolet consortium 408–409, 411
under the radar: budgets 27
United States (US): box office release 166–168; financing production 142–143; free television 276–278
Universal (including Universal Pictures, Universal City Studios, MCA/Universal) 17, 18, 22, 24, 42, 51, 127, 167, 211–219, 201–203, 278, 347–349, 561, 562
US see United States
user experience influences 363
U-verse 389
Variety: Joint ventures 21; budgets 28; international variation 38; Poseidon 111–112; Universal 167; fees 283, 284, 288; ratings 304, 311–314; Hulu 404; television distribution 288–289, 313–314; TV series economics 304; Virtual MSOs 407; see also notes (pp. 587–607)
venture capitalists: study analogy, 2, 91–93
versions: distribution activity ranges 10–11
VHS format 203
Viacom 75, 80, 205, 277, 283, 382, 421, 439, 468, 509, 598
videocassettes 196
video content consumption 362–369
video games 448, 471–472, 495, 554
video marketing 541–546; artwork 543; budgets 541–544; commercials 543; media costs 541–557; point-of-purchase 543–544; posters 543–544; PR 544–545; press 544–545; retail execution 543–544; third-parties 544–545; trailers 543–544
video markets: bargain bins 254–255; cash flows 259–264; cost considerations 237–240, 264–269; direct-to-video markets 218–220; DVDs 229–230, 243–255; early
roots 199–201; economics 259–269; formats 199–203; fulfilment 246–247; future directions 269–270; growth 197, 199–205; history 199–217; initial shipments 245–246; international marketplaces 255–258; inventory management 243–255; kiosks 231, 232–234, 271; legal wrangles 199–201; laserdiscs 216–217; life cycles 243–251; logistics 246–247; made-for video markets 218–220; market development 255–258; marketing 199–210; maturation 223–226; Netflix 231–232, 234–240; next-generation DVDs 220–223; online retail 230–243, 257–258, 270–271; physical disc inventory management 243–255; pipeline and portfolio 30–31; piracy 211–215, 271; price reductions 251–252; pricing 243–255, 257–258; product diversification 222–223; profits 243–255, 259–269; purchase/sell-through markets 205–210; Redbox 231, 232–234; release timing 255–258; rentals 201, 203–210, 231–243; replenishments 246–247; retail environments 203–210, 223–255, 543–544; return reserves 248–250; returns management 243–251; revenues 196–197, 202, 205–210, 217–218, 235–236, 240–243, 259–269; royalties 259–264; sell-through markets 205–210; shipments 245–246; Sony Betamax 199–203; stock management 243–251; transactional VOD 231–232, 270; video markets 196–271; video-on-demand 198, 231–232, 234, 241, 270; virtual stores 230–243; see also DVDs
video-on-demand (VOD): distribution value drivers 6, 8; market opportunities and segmentation 53–55; metrics 279–280; monetization changes 279–280; online distribution 362, 368–381, 426–433; pay television 331, 334–336; revenues 446, 481, 483–491, 496; television distribution 272–273, 278–280, 298–299, 315, 357, 358–360; video markets 198, 231–232, 234, 241, 270
virtual print fees (VFP) 156
virtual print programs 153–154
Wachowski’s experiment 123–124
Warner Bros 83, 111, 120, 124, 148, 214–215, 221, 234, 238–239, 288, 320, 341, 477, 594–595
Web media see Internet; online
media website: theatrical marketing 528–531
weekend per-screen averages 180
weekend release openings 172–175
windows: airline revenues 493; DVDs 240–243; film marketing 552–556; hotel/motel revenues 480–481; market opportunities and segmentation 35–43; non-theatrical market revenues 494; pay-as-you-view revenues 486–488; pay television 317–318; television channel range and quantity 49–53; television distribution 49–53, 272, 280–285; video-on-demand, revenues 486–488
word-of-mouth limited openings 499–500
YouTube 370, 374–377, 413–416, 437–441
Zynga analysis 473