This study examines how the growth of OTT is impacting consumption, production and distribution of premium content, namely sport, films and TV fiction.
It explores the roles that each of these content types will play in the coming years and looks at how their funding will be affected depending on the development scenario of the audiovisual sector.

  • It first explains how this content is produced, consumed, distributed and financed while highlighting the major regional differences.
  • It then looks at how OTT is currently disrupting the sector and examines the way in which stakeholders are adapting to this disruption.
  • Finally, it uses four scenarios for how the audiovisual sector could develop to identify the challenges that producers and premium rights holders will face in the coming years as they seek financing and exposure for their content.

Table of contents

1. Executive Summary
1.1. The film industry
1.2. TV fiction production
1.3. Sports content

2. Contextual data
2.1. The film sector economy
2.2. The series sector economy
2.3. The sport sector economy

3. OTT disruption and its impact on premium content
3.1. Ongoing disruption caused by OTT
3.2. Impact on stock programmes
3.3. Impact on film : Decision time for independent producers
3.4. Impact on fiction : Heading towards market segmentation
3.5. Impact on sports programmes : A slow migration to OTT

4. What are the potential development scenarios?
4.1. Four possible scenarios for an evolving audiovisual sector
> IDATE DigiWorld envisages four options depending on which players take the initiative
4.2. Overview of the Low Cost scenario
4.3. Overview of the Disruption scenario
4.4. Overview of the Syndication scenario
4.5. Overview of the Convergence scenario
4.6. IDATE DigiWorld’s perspective

List of tables and figures

List of tables and figures

2. Contextual data
• Major film producing countries worldwide, 2018
• Major film producing countries in Europe, 2018
• Leading countries in box office admissions, 2018
• Leading countries in box office revenues, 2018
• Breakdown of a sample 445 European films released in 2016 by budget range and size of national market
• Sources of financing of European films released in 2016
• Comparison of financing structure of French films and the average of other European films released in 2016
• Comparison of financing structure of European films released in 2016 according to budget
• Film production financing models
• Breakdown of a European film’s revenues over time
• Breakdown of a French film’s revenues over time
• Revenue breakdown of French-made films by revenue source
• Comparison of investment obligations in original productions in Europe
• Original series production in the United States, 2002-2018
• Averages for TV fiction produced per year in Europe
• The major producers of TV fiction series in Europe
• Financing sources of TV fiction
• Average budgets for English-speaking series by first broadcaster and broadcast date
• Annual TV rights costs for major sports events and increase from previous deals (national rights for national leagues, worldwide rights for international events)
• National TV rights for the five major national football leagues in Europe
• Proportion of sports programmes in the top 10 national audiences in 2018
• TV audience sizes for major sports events
• Number of subscribers to the major sports TV channels in the United States, United Kingdom and France
• Breakdown of the French audiovisual sports rights market by sport, 2018
• Breakdown of professional sports revenues in the United States by revenue source, 2013-2022
• Revenue breakdown of the 5 major European football leagues, 2017-2018
• The sports rights value chain

3. OTT disruption and its impact on premium content
• Time spent watching linear TV and online, worldwide, 2015-2018
• Breakdown of time spent watching linear TV/online, 2018
• Forecasts for proportion of mobile video in mobile data traffic, 2017-2022
• Profile comparison of cinema, TV and SVOD audiences, United Kingdom, 2017
• TV revenues by source, Europe and North America
• Programming budgets for a selection of TV groups
• Evolution of pay video streaming services
• Proportion of major US productions among most watched Netflix shows, 2018
• Comparison of time spent on the TV and the internet (all use cases combined), worldwide, 2018
• Major sports rights held by major OTT players
• Average number of sports watched on linear TV and online, 2017-2018 (among 22 sports)
• Sport as main reason for using social media
• Spending on original content (ex. sports), 2017
• Subsidised fiction production in France in total hours and average cost per hour
• Hours of fiction produced in France by format
• Number of titles produced by year in Italy by number of episodes and production cost per minute
• Time between theatrical release and first domestic release window, United States
• A positive correlation between box office sales and streaming consumption
• Advantages and disadvantages for an independent film producer of choosing a global SVOD platform as distributor
• Proportion of French and US series in the top 100 largest TV audiences in France
• Pros and cons for audiovisual producers of choosing a global SVOD platform as distributor
• National and international TV rights sales of the five major European national football leagues, 2013-2014 and 2019-2020
• ESPN’s monetary commitments for a selection of sports
• Major rights owned by DAZN and its competitors, by region
• Breakdown of TV sports viewers by age, United Kingdom, 2017
• Advantages and disadvantages of OTT distribution for sports rights holders

Geographic area



  • ARD
  • Alibaba
  • Amazon
  • Apple
  • Atresmedia
  • Baidu
  • BBC
  • BeIN Sports
  • Canal+
  • Central European Media Enterprises
  • Channel 4
  • Comcast/NBC Universal
  • Disney
  • DR
  • ESPN
  • Euroleague Basketball
  • Eurosport
  • Facebook
  • France TV
  • Google / YouTube / Google Play
  • HBO
  • Hulu
  • LaLiga
  • Mediapro
  • Netflix
  • NRK
  • Perform Group/DAZN
  • PGA Tour
  • Premier League
  • RAI
  • RMC Sport
  • RTL Group
  • RUV
  • Serie A
  • Sky
  • SVT
  • Tencent
  • TF1
  • Twitter
  • UEFA
  • UFC
  • Warner
  • WOW! Unlimited Media
  • Xilam
  • Yle
  • ZDF

Other details

  • Reference: M19230MRA
  • Delivery: on the DigiWorld Interactive platform
  • Languages available: French, English
  • Tags: audiovisual sector, content consumption, content distribution, content funding, content production, film sector economy, OTT, premium content, series sector economy, sport sector economy, TV fiction

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Sport, films, series: funding in the age of OTT

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