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GSCA 2014 Audience Research-Global Results October Giant Screen Audience Research Results September 2014 © Giant Screen Cinema Association, 2014. All rights reserved. Although we encourage use and distribution of these materials for the purposes of providing professional development, promoting best practices, and strengthening the position of the GSCA community, we request that those interested in reproducing materials observe the following guidelines. You may not post, publish, transmit, or disseminate any GSCA material in digital or electronic form by means of the World Wide Web, e-mail, online services, or any other medium without prior written permission from GSCA. To obtain permission, please contact Tammy Seldon at [email protected]. ⎢ Friendly Giant Marketing Table of contents Page 1. Objectives and methodology 3 2. Executive summary 8 3. Detailed findings 16 A. Documentary Giant Screen audience profile 17 B. Industry technology, buzzwords and labels 40 C. Attendance levels and trends 53 D. Satisfaction with films, the theater experience 62 E. Compelling film characteristics 72 F. Differentiating the Giant Screen theater 84 Appendix: Definitions used in the survey for Giant Screen theater, documentary films on the Giant Screen, and Hollywood/DMR movies Giant Screen theater audience profile GSCA Audience Research│ September 2014 │Page 2 1. Objectives and methodology Background and objectives The GSCA commissioned this research to determine what factors influence consumer decisions to attend an educational giant screen film, and to document the impact of shifting demographic trends on that decision-making process. The last worldwide study of GSCA audience demographics and opinions was conducted in 2003, and the GSCA needs an up- to-date understanding of the consumer marketplace. Results of the 2014 research will be used by the association and individual member organizations to: • Demonstrate to sponsors and underwriters the value of reaching a Giant Screen audience. • Effectively market Giant Screen venues and content. • Differentiate the Giant Screen experience from other competing forms of entertainment. • Develop content and experiences that will attract and retain audiences. To support these needs, the research: • Profiles and describes Giant Screen viewer audiences, in order to support a compelling value proposition to potential sponsors and underwriters. • Provides results that enable filmmakers to produce content that succeeds in the Giant Screen market place. • Comprehensively assesses factors that influence consumers’ decisions in choosing to attend an educational Giant Screen film, including the role of marketing/media, characteristics of the film (genre, 3D/2D, cost, etc.), who makes the decision, and the role of the theater in attracting visitors to the institution or vice versa. GSCA Audience Research│ September 2014 │Page 4 Methodology The research incorporates data from current Giant Screen audiences (Audience Survey) and consumers in the general population (General Market). • The Audience Survey represents current Giant Screen audiences, and provides an accurate, up- to-date profile of the audiences for documentary films and Giant Screen theaters. • The General Market survey identifies attitudes and opinions about Giant Screen entertainment in the broader population, with the purpose of informing strategies to increase consumer interest in documentary Giant Screen films and Giant Screen theaters. • Data were collected from March 10 – April 5, 2014 in North America and from July 7 -- August 3, 2014 in Europe and China. Audience Survey Overview • Respondents are age 16 or older. Consumers attending as part of a school group are not included in the data. While school groups are important, they are a distinct audience with unique characteristics that require a dedicated research study. • Thirty six Giant Screen theaters in the US (22), Canada (4), UK (3), China (1), Denmark (1), France (1), Greece (1), Netherlands (1), Sweden (1), and Switzerland (1) supported data collection. Theaters invited audience members to participate in the survey by distributing printed invitations to audience members at the theater or by emailing survey invitations to their database of audience members. • All data were collected through an online survey. General Market Survey Overview • Respondents are age 16 or older and pay for entertainment outside their home at least once a month. In most countries, General Market Consumers reside in metro areas with Giant Screen theaters. (Sampling was done nationally in the smaller countries of Netherlands, Sweden, and Switzerland.) • All respondents are members of the Toluna online consumer research panel. Global North Europe China Total America Audience Members Attended Giant Screen theater in last three months 1554 1068 450 36 Margin of error, 95% confidence interval, in percentage points +2.5 +3.0 +4.6 +16.6 All Audience Survey respondents 2622 1656 866 117 Margin of error, 95% confidence interval, in percentage points +1.9 +2.4 +3.3 +9.1 General Market Consumers 2495 995 1000 500 Margin of error, 95% confidence interval, in percentage points +2.0 +3.1 +3.1 +4.4 Total respondents 5117 2651 1866 617 Margin of error, 95% confidence interval, in percentage points +1.4 +1.9 +2.3 +3.9 GSCA Audience Research│ September 2014 │Page 5 Methodology (continued) Survey Content • The survey averaged 18 minutes in length for the Audience Survey, and 16 minutes for General Market consumers. • The comprehensive survey included questions on: • demographics • entertainment consumption habits • information gathering and decision making for Giant Screen film/theater attendance • overall interest in and satisfaction with Giant Screen theaters and content • awareness and perceptions of major labels, buzzwords and technology used in the industry • preferred genres/film types and characteristics of documentary Giant Screen films • opinions of the Giant Screen theater experience GSCA Audience Research│ September 2014 │Page 6 Acknowledgements We extend our appreciation and gratitude to the GSCA members and staff who led and contributed to this study. Participating theaters North America Pacific Science Center Boeing IMAX Theater and Arizona Science Center Irene P. Flinn IMAX Theater PACCAR IMAX Theater (Seattle, Washington) (Phoenix, Arizona) Saint Louis Science Center OMNIMAX Theater (Saint Branson's IMAX Entertainment Complex (Branson, Louis, Missouri) Missouri) Saskatchewan Science Centre Kramer IMAX Theatre Bullock Museum IMAX Theatre (Austin, Texas) (Regina, Saskatchewan) California Science Center IMAX Theater (Los Angeles, Science Museum of Virginia The Dome (Richmond, California) Virginia) Carnegie Science Center Rangos Omnimax Theater Science North IMAX Theatre (Sudbury, Ontario) (Pittsburgh, Pennsylvania) The Tech Museum of Innovation Hackworth IMAX Cincinnati Museum Center Robert D. Lindner Family Dome Theater (San Jose, California) OMNIMAX Theater (Cincinnati, Ohio) Tennessee Aquarium IMAX 3D Theater (Chattanooga, COSI National Geographic Giant Screen Theater Tennessee) (Columbus, Ohio) Washington Pavilion Wells Fargo CineDome (Sioux Fernbank Museum of Natural History IMAX Theatre Falls, South Dakota) (Atlanta, Georgia) Whitaker Center for Science and the Arts Select Great Lakes Science Center Cleveland Clinic Medical Digital Theater (Harrisburg, Pennsylvania) OMNIMAX Theater (Cleveland, Ohio) Europe IMAX Victoria in the Royal BC Museum (Victoria, Tycho Brahe Planetarium (Copenhagen, Denmark) British Columbia) La Geode (Paris, France) Marbles Kids Museum Wells Fargo IMAX Theatre Eugenides Foundation (Athens, Greece) (Raleigh, North Carolina) Omniversum (The Hague, The Netherlands) Michigan Science Center Chrysler IMAX Dome Theatre (Detroit, Michigan) Swedish Museum of Natural History, Cosmonova (Stockholm, Sweden) Museum of Discovery and Science AutoNation IMAX 3D Theater (Ft. Lauderdale, Florida) Glasgow Science Centre Cineworld IMAX (Glasgow, Scotland) MOSI Florida Hospital IMAX Dome Theatre (Tampa, Florida) BFI IMAX (London, UK) National Media Museum (Bradford, UK) Museum of Science Mugar Omni Theater (Boston, Massachusetts) Swiss Museum of Transport Verkehrshaus Filmtheatre New Mexico Museum of Natural History and Science (Lucerne, Switzerland) Lockheed Martin DynaTheater (Albuquerque, New China Mexico) Dongguan Science and Technology Museum Ontario Science Centre Shoppers Drug Mart (Dongguan, Guangdong) OMNIMAX Theatre (Toronto, Ontario) Project leadership and task force contributors Jonathan Barker, SK Films Kelly Germain, GSCA Steve Bishop, Whitaker Center for Science and the Amber Hawtin, SK Films Arts / Select Medical IMAX Theater) Mark Kresser, K2 Communications Diane Carlson, Pacific Science Center / Boeing IMAX Tammy Seldon, GSCA Theater Kim Cavendish, Museum of Discovery and Science / AutoNation® IMAX® Theater Paul Fraser, Blaze Digital Cinema Works GSCA Audience Research│ September 2014 │Page 7 2. Executive summary Executive summary: Profile of the documentary Giant Screen audience Educational Giant Screen films attract audiences across a range of life stages and household configurations. The largest segment of the educational Giant Screen film audience are Families with Children (38%); however, Baby Boomers and Beyond (30%) are also a large a segment of the audience. In addition, Couples without Children (17%) and Singles (11%) contribute meaningfully to the audience composition. Families with Children are an important core audience; however, large portions of the audience attend educational Giant Screen films without children
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