Alternative Content: the New Cinema Profit Engine

SUMMARY

The Report in Brief

This unique study assesses the state of the market for alternative content in electronic and digital cinema. This includes any form of large-screen content other than feature films and also includes alternative cinema use, such as for corporate events. It includes an analysis of companies that deliver alternative content, a case study of France's Video Transmission en Haute Resolution, exhibitor profiles, a comprehensive genre breakdown and financial, marketing and advertising analysis. Finally, the report provides a detailed Revenue Model which explains how alternative content could revolutionise the economics of the cinema industry.

Key Points

• Even though alternative content entered the scene in the mid-90s, there are still only a few exhibitors regularly screening content other than feature films
• Most alternative content screenings have taken place in the US, Germany and the UK
• Sports events account for the majority of all screenings, with soccer in Europe and PPV wrestling in North America being the most popular genres
• Pop music screenings make up the second largest group, with pre-recorded concerts by far outnumbering live screenings
• Screenings of Broadway musicals were rated very good by cinemagoers, but have so far failed to attract large audiences
• Some television content such as 'cult' serials can fill auditoria.

TABLE OF CONTENTS

SUMMARY OF CONTENTS

1 Introduction and methodology

2 Executive summary

3 Alternative content company profiles

3.1 Broadway Television Network

3.2 AndAction

3.3 WorldStage

3.4 Arenaplex

3.5 Closed Circuit Digital Events

3.6 Alfacam

4 VTHR - A Case Study

5 Exhibitor profiles

5.1 UCI

5.2 Regal CineMdia

5.3 Emagine Entertainment

6 Genre breakdown

6.1 Sports

6.2 Music

6.3 Stage

6.4 Television

6.5 Gaming

6.6 Corporate events

6.7 Education

6.8 Other events

7 Marketing and advertising for alternative content

7.1 General

7.2 Current media selection

7.3 Possible future strategies

8 Financial analysis

8.1 Direct ticketing

8.2 Indirect charging and concessions

8.3 Sponsorship and promotion

8.4 Auditorium rental

8.5 Members/passes

8.6 Micro-payments

9 Revenue Model

9.1 Revenues from alternative content

9.2 Revenues from alternative content for content providers and rights holders

9.3 Revenues from corporate events

9.4 Contribution of additional revenue streams to profit of exhibition companies in EU14 countries

9.5 Conclusions

10 Conclusions and outlook

10.1 Current status

10.2 Different content genres

10.3 General success and failure factors

10.4 General outlook