Global Digital Broadcast and Cinematography Cameras Market
September 23, 2013 --
London (PRWEB) September 23, 2013
Demand Saturation Slows Total Market; But Cinema Propels Product Innovation and Revenue Growth
The total digital broadcast and cinematography cameras market is in a mature phase and exhibited negligible annual growth in 2012. While digitization and HD sustain demand in the broadcast segment, it is the cinema sector that will fuel growth, albeit marginally. The market used to be distinctly segmented- with specific type of cameras for specific applications, at specific price points. However, today, cameras are increasingly used interchangeably across applications for reasons such as cost, ease of usage and similarity in features; thereby blurring definitions around products. The study period is 2011-2017 with the base year as 2012.
The total digital broadcast and cinematography cameras market is in a mature phase. This, as well as the economic recession has stifled growth for most vendors in the market including Sony and Panasonic, who are the largest participants.
However the cinema segment provides some momentum to the market, especially because of 2K and 4K product variants from the likes of ARRI and RED that range from $X to $X.
The total market exhibited negligible annual growth in 2012; all segments except cinema declined in revenue. This trend will likely continue over the forecast period, but demand from Latin America, parts of APAC, South Africa and Russia is expected to save the market from falling steeply.
The market used to be distinctly segmented- with specific type of cameras for specific applications, at specific price points. However, since 2008, trends have changed. Many cameras are increasingly used interchangeably across applications for reasons such as cost, ease of usage and similarity in features; thereby blurring definitions around products.
Also, prices have rapidly fallen, in some cases by X%-X% over Xyears. These trends have disrupted the market. Sustaining product development while growing business and securing profits is tough for individual vendors.
A significant challenge for the market, especially in the broadcast segment, is lack of a strong next-generation technology that can drive new sales. Currently HD sustains demand for products in a few regions; yet, this is a short-term driver.
Replacements are likely to be driven by features supporting convenience, such as triax and wireless support, but there is no must-have requirement among customers to consider total inventory overhaul.
The industry looks forward to Ultra HD transmission, which would ultimately impact product pipeline to support the same, but Frost & Sullivan believes that mass adoption and application of this technology will take at least a decade to materialize. However during the forecast period, camera vendors will likely come up with several high resolution prototypes.
3D, on other hand, lies in a dormant state. Any enthusiasm seen between 2010 and 2012 has dissipated. Though a large number of 3D TV sets are entering consumer homes, there has been little advancement in product development in this direction and few broadcasters are willing to invest in the technology.
Market participants have to note that the end-user base has widened, encompassing thousands of professionals, unlike in the past where the market comprised an elitist community. Channels have multiplied in every country, and there are avenues beyond television that allow one to distribute content in a simple manner. This has opened up opportunities for some vendors while restraining growth for the others.
For example, there is an increasing adoption of sub-$X DSLR products such as Canons 5D and EOS 7D to shoot HD video, especially in the newsgathering and indie-cinema segments. Though this trend impacts the market marginally and indirectly today, and there is limited visibility of how these products are to be adapted to other pro-video segments, it is a sign of evolving customer expectations. Products being manufactured today are rated on flexibility, adaptability, form factor and price.
1. Product innovation in the cinema segment fuels growth for the total market.
2. Latin America, Russia, Asia-Pacific and South Africa promise growth opportunities.
3. The market requires growing versatility in products which score high on video quality, yet are competitive in price.
4. Increasingly camera bodies are getting cheaper, but accessories such as lens will continue to be expensive.
5. Ultra HD is being pushed as the next-gen television format, but impact unlikely over the next X years.
The study broadly categorizes cameras as- studio, cinematography, EFP and ENG cameras.
Professional Camera: A device used to capture high-quality electronic motion picture, used across a wide range of applications.
EFP Camera: It is used for the purpose of field production, say shooting live football matches, concerts and documentaries. Grass Valleys LDK Series would be an example of an EFP camera.
ENG Camera: The ENG is a single portable camera usually used for news events outside the broadcast studio. Examples of ENG camera would be Panasonic AJ-HPX 2000, and Sony PMW 350K.
Studio Camera: These are cameras that are used by broadcasters in a controlled lighting setup. The content shot here can be either broadcasted live or transmitted to a recording center for distribution at a later time.
Cinematography Cameras: These are cameras used for shooting motion pictures in high resolution and are characterized by large sensors, multiple recording options and frame rates to choose from.
Complementary Metaloxide Semiconductor (CMOS) Sensor: A digital video camera that uses a CMOS image sensor for capturing the picture.
Charge-Coupled Device (CCD) Camera: CCD cameras contain a silicon chip that is used to convert light into electrical charges and this digital data is recorded by the camera.
4K Resolution: A very high resolution signal with a width of X pixels and height of Xpixels. It is estimated to be four times the resolution of the 1080i/p signal.
2K Resolution: It refers to the horizontal resolution of 2000 pixels with a single frame.
Unit: In this study a unit is defined as a single camera excluding accessories such as lenses and tripods. Revenues and pricing are in constant 2012 U.S. dollars (we take the average of the dollar values over the year). We use that value to convert list prices if mentioned in other currencies such as the Japanese yen.
Price: All prices reported are Frost & Sullivan estimates of average sales price (ASP) per unit, in US dollars. ASP is typically lower than the list price, as the dominant channel for sales is via system integrators (SIs) or resellers, and also because vendors typically offer significant discounts to high-volume direct-sales customers. Increasingly, price models are dependent on rentals rather than outright purchases.
Revenue: Market size is measured in terms of manufacturers revenue in US dollars.
Europe, Middle East, and Africa (EMEA)
Key Questions This Study Will Answer
Is the market growing? How long will it continue to grow and at what rate?
How are the existing companies going to shape up the market?
What are the current market trends in the market, and how are competitors continuing to provide value-priced products?
What technical trends are shaping the marketplace today? What disruptions are on the horizon, and what implications does this have on future product strategy?
How are the solutions going to evolve in terms of features and functionalities?
Table of Contents
1. Executive Summary
2. Market Overview
3. Total Digital Broadcast and Cinematography Cameras Market
External Challenges: Drivers and Restraints
Forecast and Trends
Market Share and Competitive Analysis
4. Studio Cameras Segment Breakdown
5. Cinematography Cameras Segment Breakdown
6. ENG Cameras Segment Breakdown
7. EFP Cameras Segment Breakdown
8. Hot Company Watchlist
9. The Last Word
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