Research and Markets: Global Animation Industry 2015: Strategies, Trends and Opportunities

DUBLIN--()--Research and Markets (http://www.researchandmarkets.com/research/sgp39g/global_animation) has announced the addition of the "Global Animation Industry 2015: Strategies, Trends and Opportunities" report to their offering.

The rapid advancement of technology has made computer animation available to the masses and the animation industry is one of the fastest growing industries. The demand for animated entertainment has expanded with the increase in broadcasting hours by cable and satellite TV along with the growing popularity of the Internet. In the past, animation series were aimed at children aged nine and below. In recent years however, TV stations have been producing animation series for teenagers, adults and the whole family. Animation series like The Simpsons and King of the Hill have been successfully aired on primetime TV. The major markets include the United States, Canada, Japan, France, Britain and Germany. Licensing operations for T-shirts, caps and other items have also been a major source of revenue for animation companies. In Japan, several successful computer games have crossed over and have become animated series like Pokemon, Monster Farm, Power Stone and Detective Conan. More broadly speaking, animation is increasingly used in video games, and movies are also increasingly reliant on animation and computer graphic special effects.

ECONOMICS OF ANIMATION COPYRIGHTS

Animators face a long and daunting obstacle race to bring their works to market. First they must find a producer prepared to speculatively develop and package the work to an offerable stage. This typically involves the creation of a 'pilot' episode or sequence, plus extensive artwork, scripts and the gathering of commitments from key production facilities and personnel. Next the producer must secure an international consortium of broadcasters, distributors and sales agents prepared to commit to the production - international because no single, local market outside the US offers prices sufficient to underwrite a major animated work. The buying consortium in turn must be supported by a panel of investors or lenders prepared to cashflow production against the consortium's 'presale' and distribution commitments, which are normally contingent on delivery of the finished work. Even at this stage, there is typically a shortfall or 'gap' between the production cost and the presale commitments, which must be met by a third-party investor or else absorbed by the production team in the form of wage deferrals or the foregoing of profits. Only then, often after many years of effort, can the work attempt the final hurdle, of consumer acceptance.

DYNAMICS OF COPYRIGHTS

How can such low average profitability be reconciled with the tremendous popularity of movies, animations and other copyright-based entertainments? To answer this question requires an assessment of the dynamics of copyright markets, noting in particular:

- The long chain of intermediaries linking creation with consumption, each deducting their costs and profits before the remainder is passed on. The copyright market resembles a pyramid where the revenues flow from the top to the various entities below.

- The zero-pricing of entertainment products in the main, free-to-air television markets, which are fully funded by third-party advertisers, so that consumers pay only by their attention to the advertising messages. Customers do a trade-off, whereby consumers accept their preferences in return for free entertainment. Web-based subscriptions systems may overcome this approach in the future.

- The market power of ruling intermediaries who are the broadcasters and distributors who dominate the world market for content. Globally, there are about five or six corporations which between them command 70-80 per cent of the main media markets; locally, their power is further concentrated so that a matrix of international media power would show a cross-linked and vertically-integrated network of interests.

Key Topics Covered:

1. Global Animation Industry

2. Animation Segments

3. Forecasting Animation Content Demand

4. Future Developments

5. Animation Software Industry

6. Animation Content Creation

7. Audience Dynamics

8. Economics of Animation

9. Guidelines for Setting up an Animation Studio

10. Managing an Animation Studio

11. Animation Content Outsourcing

12. Animation Industry in Europe

13. Animation Industry in USA

14. Asian Animation Industry

15. Animation Industry in Africa

16. Animation Industry in Japan

17. Animation Studios in Japan

18. Animation Industry in Canada

19. Animation Industry in Australia

20. Animation Studios in Argentina

21. Animation Industry in Brazil

22. Animation Studios in Colombia

23. Animation Industry in South Africa

24. Animation Industry in Mexico

For more information visit http://www.researchandmarkets.com/research/sgp39g/global_animation

Contacts

Research and Markets
Laura Wood, Senior Manager
press@researchandmarkets.com
For E.S.T Office Hours Call 1-917-300-0470
For U.S./CAN Toll Free Call 1-800-526-8630
For GMT Office Hours Call +353-1-416-8900
U.S. Fax: 646-607-1907
Fax (outside U.S.): +353-1-481-1716
Sector: Media and Entertainment

Contacts

Research and Markets
Laura Wood, Senior Manager
press@researchandmarkets.com
For E.S.T Office Hours Call 1-917-300-0470
For U.S./CAN Toll Free Call 1-800-526-8630
For GMT Office Hours Call +353-1-416-8900
U.S. Fax: 646-607-1907
Fax (outside U.S.): +353-1-481-1716
Sector: Media and Entertainment