![]() ![]() ![]() Savvy film producers and distributors are wising up and adjusting accordingly. ![]() Another driver is the demand for content anytime, which is too often fulfilled during the theater window by pirated-versions of movies in the absence of a legitimate digital version. One key driver is the strong demand for content anywhere, due to the proliferation of mobile devices. To put things into perspective, it is worth examining the drivers. Of the eight movies nominated for best picture, seven movies have been released or have a set date to be released for digital download ( Birdman, The Theory of Everything, The Grand Budapest Hotel, Boyhood, Selma, Whiplash, and The Imitation Game). Many industry experts had predicted that digital would become a more prominent channel for film distribution, but what’s striking is the speed at which it is taking place: it took more than 10 years for the DVD release window to shrink by half to where it is now, yet it only took 3 years for the digital download window to shrink by almost two thirds (see graph).Īnd the trend does not seem to let down. A three-year research project with my colleagues John Mooney and Marlene Biseda at Pepperdine University shows how digital has become, if not king, then at least prince: In early 2012, movies were available for digital download about 9 months after theater release on average, but movies released last summer were available for download 3-4 months after theater release, roughly at the same time as DVDs. But as with many other industries, the internet has turned that distribution model upside down. Under the traditional film distribution model, the primary channel has historically been the movie theater, and for the last few decades DVD distribution has been a profitable secondary channel. ![]()
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