Content Economics: How Digital Distribution is Impacting Content Industries
This report takes a look at four major content industry sectors:
It then delivers a cross-cutting and comparative analysis of trends that are common to all four sectors.
Lastly, it provides global market forecasts for 2016-2020 for all four sectors, for six key countries and four regions.
DATABASE STRUCTURE
General indicators
Consumption
Consumption
Consumption
Consumption
- book publishing,
- recorded music,
- video games,
- video.
It then delivers a cross-cutting and comparative analysis of trends that are common to all four sectors.
Lastly, it provides global market forecasts for 2016-2020 for all four sectors, for six key countries and four regions.
DATABASE STRUCTURE
General indicators
- Demographic indicators
- Number of households
- Growth rate
- Gross domestic product
- Growth rate
- Parity
- Parity – local currency per EUR
Consumption
- Physical books sales volume (million units)
- Digital books sales volume (million units)
- Dematerialisation rate of the market in sales volume
- Number of subscriptions to online services (million subs.)
- Total revenues (million EUR)
- Physical books sales revenues (million EUR)
- Digital books sales revenues (million EUR)
- Subscription services revenues (million EUR)
- Dematerialisation rate of the market in value
- Annual household expenditure on physical books
- Annual household expenditure on digital books
- Physical books average price
- Digital books average price
- Subscription ARPU
Consumption
- Sales volume of albums and singles on physical media (million units)
- Sales volume of digital albums and single tracks (million units)
- Dematerialisation rate of the market in sales volume
- Number of subscriptions to online services (million subs.)
- Total revenues (million EUR)
- Physical sales revenues (million EUR)
- Digital sales revenues (million EUR)
- Subscription revenues (million EUR)
- Dematerialisation rate of the market in value
- Annual household expenditure on music on physical media
- Annual household expenditure on music files and online services
- Average price of an album/single on physical media
- Average price of a digital album/single
- Subscriptions ARPU
Consumption
- Sales volume of software on physical media (million units)
- Sales volume of dematerialised software (million units)
- Dematerialisation rate of the market in sales volume
- Number of subscriptions to online services (million subs.)
- Total revenues (million EUR)
- Physical sales revenues (million EUR)
- Digital sales revenues (million EUR)
- Other revenues (million EUR)
- Subscription revenues (million EUR)
- Dematerialisation rate of the market in value
- Annual household expenditure on video games on physical media
- Annual household expenditure on online software and video games
- Average price of software on physical media
- Average price of dematerialised software
- Subscriptions ARPU
Consumption
- Sales volume of titles on physical media (million units)
- Sales volume of dematerialised titles (million units)
- Rentals volume of titles on physical media (million units)
- Rentals volume of dematerialised titles (million units)
- Number of subscriptions to online services (million subs.)
- Dematerialisation rate of the market in volume
- Total revenue (million EUR)
- Sales and rentals revenues from titles on physical media (million EUR)
- Sales and rentals revenues from dematerialised titles (million EUR)
- Dematerialisation rate of the market in value
- Subscription services revenues (million EUR)
- Annual household expenditure on video on physical media
- Annual household expenditure on online video and services
- Average price of a title on physical media (sale and rental)
- Average price of a dematerialised title (sale and rental)
- Subscriptions ARPU
1. EXECUTIVE SUMMARY
1.1. Returning to growth
1.2. Different dematerialisation cycles
1.3. Dematerialisation drives down prices and household spending
1.4. From an ownership model to an access model
1.5. New growth opportunities
1.6. A change in revenue distribution that benefits producers and rights owners
2. SCOPE AND METHODOLOGY
2.1. Scope of the study
2.1.1. Definition of the subjects studied
2.1.2. Geographical coverage
2.2. General methodology of IDATE's reports
2.3. Methodology specific to this report
2.4. Definitions
3. SECTORAL ANALYSES
3.1. The publishing market
3.1.1. Changing trends in book consumption
3.1.2. Publishing market revenues
3.2. The recorded music market
3.2.1. Changing trends in recorded music consumption
3.2.2. Recorded music market revenues
3.3. The video game market
3.3.1. Changing trends in video game consumption
3.3.2. Video game market revenues
3.4. The video market
3.4.1. Changing trends in video consumption
3.4.2. Video market revenues
4. CROSS-SECTION ANALYSIS
4.1. The dematerialisation of cultural industries and its impact
4.1.1. Different degrees of dematerialisation
4.2. The impact of dematerialisation on prices and household expenditure
4.3. From an ownership model to an access model
4.4. A shift towards yield management of cultural goods?
5. MARKETS AND FORECASTS
5.1. Growth conditions
5.1.1. Growth factors
5.1.2. IDATE's opinion
5.2. Market forecasts 2016-2020
6. REVENUE REDISTRIBUTION
6.1. Redistribution of revenue in the publishing market
6.1.1. A changing value chain
6.1.2. Revenue distribution
6.1.3. The engines of change
6.1.4. Change in how revenue is distributed in the publishing market between 2015 and 2020
6.2. Revenue distribution in the recorded music market
6.2.1. A changing value chain
6.2.2. Revenue distribution
6.2.3. The engines of change
6.2.4. Change in how revenue is distributed in the recorded music market between 2015 and 2020
6.3. Redistribution of wealth in the video game market
6.3.1. A restructuring of the value chain
6.3.2. Developers the prime beneficiaries of dematerialisation
6.4. Revenue distribution in the video market
6.4.1. Restructuring of the value chain
6.4.2. Revenue distribution
6.4.3. The engines of change
6.4.4. Change in how revenue is distributed in the video market between 2015 and 2020
7. DATA BOOK
1.1. Returning to growth
1.2. Different dematerialisation cycles
1.3. Dematerialisation drives down prices and household spending
1.4. From an ownership model to an access model
1.5. New growth opportunities
1.6. A change in revenue distribution that benefits producers and rights owners
2. SCOPE AND METHODOLOGY
2.1. Scope of the study
2.1.1. Definition of the subjects studied
2.1.2. Geographical coverage
2.2. General methodology of IDATE's reports
2.3. Methodology specific to this report
2.4. Definitions
3. SECTORAL ANALYSES
3.1. The publishing market
3.1.1. Changing trends in book consumption
3.1.2. Publishing market revenues
3.2. The recorded music market
3.2.1. Changing trends in recorded music consumption
3.2.2. Recorded music market revenues
3.3. The video game market
3.3.1. Changing trends in video game consumption
3.3.2. Video game market revenues
3.4. The video market
3.4.1. Changing trends in video consumption
3.4.2. Video market revenues
4. CROSS-SECTION ANALYSIS
4.1. The dematerialisation of cultural industries and its impact
4.1.1. Different degrees of dematerialisation
4.2. The impact of dematerialisation on prices and household expenditure
4.3. From an ownership model to an access model
4.4. A shift towards yield management of cultural goods?
5. MARKETS AND FORECASTS
5.1. Growth conditions
5.1.1. Growth factors
5.1.2. IDATE's opinion
5.2. Market forecasts 2016-2020
6. REVENUE REDISTRIBUTION
6.1. Redistribution of revenue in the publishing market
6.1.1. A changing value chain
6.1.2. Revenue distribution
6.1.3. The engines of change
6.1.4. Change in how revenue is distributed in the publishing market between 2015 and 2020
6.2. Revenue distribution in the recorded music market
6.2.1. A changing value chain
6.2.2. Revenue distribution
6.2.3. The engines of change
6.2.4. Change in how revenue is distributed in the recorded music market between 2015 and 2020
6.3. Redistribution of wealth in the video game market
6.3.1. A restructuring of the value chain
6.3.2. Developers the prime beneficiaries of dematerialisation
6.4. Revenue distribution in the video market
6.4.1. Restructuring of the value chain
6.4.2. Revenue distribution
6.4.3. The engines of change
6.4.4. Change in how revenue is distributed in the video market between 2015 and 2020
7. DATA BOOK
TABLES & FIGURES
Table 1: Summary table of the scope of content studied
Table 2: Details of the countries covered by region
Table 3: Lists of indicators in the database and sources used
Table 4: Forecasts for content industry revenues, worldwide, 2016-2020
Table 5: Forecasts for publishing sector revenues, worldwide, 2016-2020
Table 6: Forecasts for recorded music sector revenues, worldwide, 2016-2020
Table 7: Forecasts for video game sector revenues, worldwide, 2016-2020
Table 8: Forecasts for video sector revenues, worldwide, 2016-2020
Figure 1: Global content industry revenues by market segment and dematerialisation rate in value, 2012–2016
Figure 2: Percentage of physical and dematerialised revenues by content industry market segment, 2012 and 2015
Figure 3: Comparison between the average sales price of content on physical media and in dematerialised form, Europe, 2015
Figure 4: Household expenditure by content industry segment, worldwide, 2012 and 2015
Figure 5: Illustration of the transition from a model based on ownership to a model based on access to content, according to the theory of public goods
Figure 6: Global content industry revenues by market segment and dematerialisation rate in value, 2016–2020.
Figure 7: Revenue distribution for hard copy and digital sales in Europe, in 2016
Figure 8: Change in a movie's unit value over time
Figure 9: Diagram showing the four distribution channels within content industries
Figure 10: Illustration of the process for obtaining forecasts
Figure 11: Global content industry revenues by market segment and dematerialisation rate in value, 2012–2016.
Figure 12: Volume of books sold on physical media and in dematerialised form, worldwide, 2012–2016
Figure 13: Volume of books sold on physical media and in dematerialised form, United States, 2012–2016
Figure 14: Volume of books sold on physical media and in dematerialised form, Europe, 2012–2016
Figure 15: Subscription digital library subscribers, United States, Europe and worldwide, 2012–2016
Figure 16: Global publishing market revenues and industry dematerialisation rate in value, 2012–2016
Figure 17: Distribution of global publishing market revenues by geographical region, 2015
Figure 18: Growth in revenues generated by subscription digital library services, worldwide, 2012–2016
Figure 19: Sales volume of albums and singles on physical media and in dematerialised form, worldwide, 2012–2016
Figure 20: Sales volume of albums and singles on physical media and in dematerialised form, Europe, 2012–2016
Figure 21: Sales volume of albums and singles on physical media and in dematerialised form, United States, 2012–2016
Figure 22: Sales volume of dematerialised albums and singles, Europe, 2012–2016
Figure 23: Sales volume of dematerialised albums and singles, United States, 2012–2016
Figure 24: Streaming audio subscribers in the United States, Europe and worldwide, 2012–2016
Figure 25: Global recorded music market revenues and industry dematerialisation rate in value, 2012–2016
Figure 26: Breakdown of the recorded music market by region, 2015
Figure 27: Global recorded music market revenues by segment, 2012–2016
Figure 28: Volume of video games sold worldwide, 2012–2016
Figure 29: Volume of video game subscriptions worldwide, 2012–2016
Figure 30: Distribution of video game subscription volume by region, 2015
Figure 31: Global video game market revenues and industry dematerialisation rate in value, 2012–2016
Figure 32: Breakdown of global video game market revenues by geographical region, 2015
Figure 33: Breakdown of global video game market revenues by segment, 2012–2016
Figure 34: Volume of video titles sold on physical media and in dematerialised form, United States, 2012–2016
Figure 35: Volume of video titles rented on physical media and in dematerialised form, United States, 2012–2016
Figure 36: Volume of video titles sold on physical media and in dematerialised form, Europe, 2012–2016
Figure 37: Volume of video titles rented on physical media and in dematerialised form, Europe, 2012–2016
Figure 38: SVOD subscribers in the United States, Europe and worldwide, 2012–2016
Figure 39: Global video market revenues and industry dematerialisation rate in value, 2012–2016
Figure 40: Breakdown of global video market revenues by geographical region, 2015
Figure 41: Global video market revenues by segment, 2012–2016
Figure 42: Dematerialisation rates in volume and value compared, and total revenues by sector, Europe, 2015
Figure 43: Simplified timeline of major technological innovations by industry sector
Figure 44: Physical and dematerialised revenue share by content industry market segment, 2012 and 2015
Figure 45: Comparison between the average sales price of content on physical media and dematerialised content, Europe, 2015
Figure 46: Household expenditure by content industry segment, worldwide, 2012 and 2015
Figure 47: Illustration of the transition from a model based on ownership to a model based on access to content, according to the theory of public goods
Figure 48: Breakdown of content industries global revenues by sector, 2012 and 2015
Figure 49: Household expenditure on cultural goods and services, worldwide, by content type, 2016–2020
Figure 50: Global content industry revenues by market segment and dematerialisation rate in value, 2016–2020.
Figure 51: Distribution of content industry revenues by geographical region, 2020
Figure 52: Global publishing market revenues by segment and dematerialisation rate in value, 2016–2020
Figure 53: Global recorded music market revenues by segment and dematerialisation rate in value, 2016–2020
Figure 54: Global video game market revenues by segment and dematerialisation rate in value, 2016–2020
Figure 55: Global video market revenues by segment and dematerialisation rate in value, 2016–2020
Figure 56: Change in household spending on cultural goods and services worldwide, by type of content, 2016-2020
Figure 57: Comparison of physical and dematerialised distribution chains in the publishing sector
Figure 58: Breakdown of book revenue for physical sales in 2015
Figure 59: Breakdown of book revenue for digital sales in 2015
Figure 60: Change in revenue distribution for physical book sales between 2015 and 2020
Figure 61: Change in revenue distribution for digital book sales between 2015 and 2020
Figure 62: Change in revenue distribution in the publishing market in Europe between 2012 and 2020
Figure 63: Change in revenue distribution in the publishing market in the United States between 2012 and 2020
Figure 64: Comparison of physical and digital distribution chains in the recorded music sector
Figure 65: How revenue is distributed in the recorded music market for hard copy sales in 2015
Figure 66: How revenue is distributed in the recorded music market for digital sales in 2015
Figure 67: Change in how revenue is distributed in the recorded music market for hard copy sales between 2015 and 2020
Figure 68: Change in how revenue is distributed in the recorded music market for digital sales between 2015 and 2020
Figure 69: Change in how music revenue is distributed in Europe between 2012 and 2020
Figure 70: Change in how book publishing revenue is distributed in the United States between 2012 and 2020
Figure 71: Comparison of physical and dematerialised distribution chains in the video game sector
Figure 72: Revenues earned by the various segments in the video game market value chain, 2008–2019
Figure 73: Breakdown of revenues earned by the various segments in the video game market value chain, 2008–2019
Figure 74: Comparison of physical and dematerialised distribution chains in the video sector
Figure 75: How revenue is distributed in the video market for hard copy sales in 2015
Figure 76: How revenue is distributed in the video market for digital sales in 2015
Figure 77: Change in how revenue is distributed in the video market for hard copy sales between 2015 and 2020
Figure 78: Change in how revenue is distributed in the video market for digital sales between 2015 and 2020
Figure 79: Change in revenue distribution in the video market in Europe between 2012 and 2020
Figure 80: Change in revenue distribution in the video market in the United States between 2012 and 2020
Table 1: Summary table of the scope of content studied
Table 2: Details of the countries covered by region
Table 3: Lists of indicators in the database and sources used
Table 4: Forecasts for content industry revenues, worldwide, 2016-2020
Table 5: Forecasts for publishing sector revenues, worldwide, 2016-2020
Table 6: Forecasts for recorded music sector revenues, worldwide, 2016-2020
Table 7: Forecasts for video game sector revenues, worldwide, 2016-2020
Table 8: Forecasts for video sector revenues, worldwide, 2016-2020
Figure 1: Global content industry revenues by market segment and dematerialisation rate in value, 2012–2016
Figure 2: Percentage of physical and dematerialised revenues by content industry market segment, 2012 and 2015
Figure 3: Comparison between the average sales price of content on physical media and in dematerialised form, Europe, 2015
Figure 4: Household expenditure by content industry segment, worldwide, 2012 and 2015
Figure 5: Illustration of the transition from a model based on ownership to a model based on access to content, according to the theory of public goods
Figure 6: Global content industry revenues by market segment and dematerialisation rate in value, 2016–2020.
Figure 7: Revenue distribution for hard copy and digital sales in Europe, in 2016
Figure 8: Change in a movie's unit value over time
Figure 9: Diagram showing the four distribution channels within content industries
Figure 10: Illustration of the process for obtaining forecasts
Figure 11: Global content industry revenues by market segment and dematerialisation rate in value, 2012–2016.
Figure 12: Volume of books sold on physical media and in dematerialised form, worldwide, 2012–2016
Figure 13: Volume of books sold on physical media and in dematerialised form, United States, 2012–2016
Figure 14: Volume of books sold on physical media and in dematerialised form, Europe, 2012–2016
Figure 15: Subscription digital library subscribers, United States, Europe and worldwide, 2012–2016
Figure 16: Global publishing market revenues and industry dematerialisation rate in value, 2012–2016
Figure 17: Distribution of global publishing market revenues by geographical region, 2015
Figure 18: Growth in revenues generated by subscription digital library services, worldwide, 2012–2016
Figure 19: Sales volume of albums and singles on physical media and in dematerialised form, worldwide, 2012–2016
Figure 20: Sales volume of albums and singles on physical media and in dematerialised form, Europe, 2012–2016
Figure 21: Sales volume of albums and singles on physical media and in dematerialised form, United States, 2012–2016
Figure 22: Sales volume of dematerialised albums and singles, Europe, 2012–2016
Figure 23: Sales volume of dematerialised albums and singles, United States, 2012–2016
Figure 24: Streaming audio subscribers in the United States, Europe and worldwide, 2012–2016
Figure 25: Global recorded music market revenues and industry dematerialisation rate in value, 2012–2016
Figure 26: Breakdown of the recorded music market by region, 2015
Figure 27: Global recorded music market revenues by segment, 2012–2016
Figure 28: Volume of video games sold worldwide, 2012–2016
Figure 29: Volume of video game subscriptions worldwide, 2012–2016
Figure 30: Distribution of video game subscription volume by region, 2015
Figure 31: Global video game market revenues and industry dematerialisation rate in value, 2012–2016
Figure 32: Breakdown of global video game market revenues by geographical region, 2015
Figure 33: Breakdown of global video game market revenues by segment, 2012–2016
Figure 34: Volume of video titles sold on physical media and in dematerialised form, United States, 2012–2016
Figure 35: Volume of video titles rented on physical media and in dematerialised form, United States, 2012–2016
Figure 36: Volume of video titles sold on physical media and in dematerialised form, Europe, 2012–2016
Figure 37: Volume of video titles rented on physical media and in dematerialised form, Europe, 2012–2016
Figure 38: SVOD subscribers in the United States, Europe and worldwide, 2012–2016
Figure 39: Global video market revenues and industry dematerialisation rate in value, 2012–2016
Figure 40: Breakdown of global video market revenues by geographical region, 2015
Figure 41: Global video market revenues by segment, 2012–2016
Figure 42: Dematerialisation rates in volume and value compared, and total revenues by sector, Europe, 2015
Figure 43: Simplified timeline of major technological innovations by industry sector
Figure 44: Physical and dematerialised revenue share by content industry market segment, 2012 and 2015
Figure 45: Comparison between the average sales price of content on physical media and dematerialised content, Europe, 2015
Figure 46: Household expenditure by content industry segment, worldwide, 2012 and 2015
Figure 47: Illustration of the transition from a model based on ownership to a model based on access to content, according to the theory of public goods
Figure 48: Breakdown of content industries global revenues by sector, 2012 and 2015
Figure 49: Household expenditure on cultural goods and services, worldwide, by content type, 2016–2020
Figure 50: Global content industry revenues by market segment and dematerialisation rate in value, 2016–2020.
Figure 51: Distribution of content industry revenues by geographical region, 2020
Figure 52: Global publishing market revenues by segment and dematerialisation rate in value, 2016–2020
Figure 53: Global recorded music market revenues by segment and dematerialisation rate in value, 2016–2020
Figure 54: Global video game market revenues by segment and dematerialisation rate in value, 2016–2020
Figure 55: Global video market revenues by segment and dematerialisation rate in value, 2016–2020
Figure 56: Change in household spending on cultural goods and services worldwide, by type of content, 2016-2020
Figure 57: Comparison of physical and dematerialised distribution chains in the publishing sector
Figure 58: Breakdown of book revenue for physical sales in 2015
Figure 59: Breakdown of book revenue for digital sales in 2015
Figure 60: Change in revenue distribution for physical book sales between 2015 and 2020
Figure 61: Change in revenue distribution for digital book sales between 2015 and 2020
Figure 62: Change in revenue distribution in the publishing market in Europe between 2012 and 2020
Figure 63: Change in revenue distribution in the publishing market in the United States between 2012 and 2020
Figure 64: Comparison of physical and digital distribution chains in the recorded music sector
Figure 65: How revenue is distributed in the recorded music market for hard copy sales in 2015
Figure 66: How revenue is distributed in the recorded music market for digital sales in 2015
Figure 67: Change in how revenue is distributed in the recorded music market for hard copy sales between 2015 and 2020
Figure 68: Change in how revenue is distributed in the recorded music market for digital sales between 2015 and 2020
Figure 69: Change in how music revenue is distributed in Europe between 2012 and 2020
Figure 70: Change in how book publishing revenue is distributed in the United States between 2012 and 2020
Figure 71: Comparison of physical and dematerialised distribution chains in the video game sector
Figure 72: Revenues earned by the various segments in the video game market value chain, 2008–2019
Figure 73: Breakdown of revenues earned by the various segments in the video game market value chain, 2008–2019
Figure 74: Comparison of physical and dematerialised distribution chains in the video sector
Figure 75: How revenue is distributed in the video market for hard copy sales in 2015
Figure 76: How revenue is distributed in the video market for digital sales in 2015
Figure 77: Change in how revenue is distributed in the video market for hard copy sales between 2015 and 2020
Figure 78: Change in how revenue is distributed in the video market for digital sales between 2015 and 2020
Figure 79: Change in revenue distribution in the video market in Europe between 2012 and 2020
Figure 80: Change in revenue distribution in the video market in the United States between 2012 and 2020
