영화 및 TV 제작 시장 : 점유율 분석, 업계 동향 및 통계, 성장 예측(2026-2031년)

According to Mordor Intelligence, the film and TV Production Market size is expected to increase from USD 298.47 billion in 2025 to USD 312.88 billion in 2026 and reach USD 409.69 billion by 2031, growing at a CAGR of 5.54% over 2026-2031.

This report is Segmented by Content Type (Feature Films, TV Series, Documentary and Non-Fiction, Commercials, Music Videos, and More), Production Stage (Pre-Production, Production, and Post-Production), Client Type (Studios and Broadcasters, and More), and Geography (North America, South America, Europe, Asia-Pacific, Middle East, and Africa). The Market Forecasts are Provided in Terms of Value (USD).

Global Film and TV Production Market Trends and Insights

Expansion of Streaming-First Commissioning

The shift from broadcast-first to streaming-first ordering has created a steadier base of demand for the film and TV production market than existed before 2020. Large platforms increasingly commission titles with global rights from the outset, which lowers sales-market uncertainty for producers but gives buyers stronger control over pricing and ownership. That model supports earlier budgeting decisions and keeps crews, facilities, and post houses engaged across longer planning cycles. It also favors producers that can deliver consistent execution across several territories and across repeat seasons or linked franchises. Independent production companies still benefit from clearer funding visibility, but they now operate in a system where more of the long-tail value sits with the commissioning platform. In the film and Television production market, this commissioning structure has become a durable growth support even when individual platforms adjust title counts from one year to the next.

Rising Demand for High-Value Localized Content

Demand for localized titles is rising because audiences stay engaged longer with stories that reflect language, culture, and regional context. That shift has widened the addressable base of the film and TV production market beyond legacy English-language production centers and into regional commissioning hubs. South Korea's audiovisual sector generated KRW 23,080 billion (USD 16.8 billion), across television, film, and VOD in 2024, which shows how local IP can support both domestic scale and export reach. The same pattern strengthens co-productions, rights partnerships, and repeat work for regional suppliers that can deliver culturally specific content at a premium standard. Localized production is no longer only a market-entry tool for distributors because it now supports subscriber retention and catalog depth over time. As that shift continues, the film and TV industry gains a broader and more resilient pipeline of commissioned content.

Escalating Talent, Union, And Location Costs

Labor inflation is becoming a structural cost issue rather than a short-term disruption in the film and TV production market. SAG-AFTRA members ratified the 2026 TV/Theatrical Agreement with 91.42% approval, and the agreement set 3% annual minimum wage increases through June 30, 2030. These increases raise base budgeting needs for scripted projects and make established production hubs harder to justify smaller slates. Location, legal, and compliance expenses also remain elevated in Los Angeles, New York, and London, which pushes more producers toward incentive-backed secondary markets. New obligations tied to AI and digital replica usage add another layer of administrative work for productions that rely on performer-likeness tools. The result is that mid-budget titles face tighter margins even when end demand for filmed entertainment remains healthy.

Other drivers and restraints analyzed in the detailed report include:

1. Virtual Production Adoption in Studio Workflows
2. Growth Of Premium Post-Production and VFX Outsourcing
3. Financing Volatility for Mid-Budget Projects

For complete list of drivers and restraints, kindly check the Table Of Contents.

Segment Analysis

Television Series held 39.62% of the film and TV production market size in 2025, reflecting the format's central role in subscriber retention and repeat commissioning. Studios and platforms commit multi-season packages because they support steadier use of writers, cast, sets, and post-production teams over longer cycles. That continuity makes series work the most dependable volume anchor within the film and TV production market across development, principal photography, and finishing. It also gives service vendors better planning visibility because returning titles typically carry established creative teams, recurring locations, and known delivery requirements. Feature Films remain a separate value pool, and global theatrical revenue reached USD 32.8 billion in 2025 even as viewing time continued to shift toward digital platforms.

Documentary and non-fiction segment is projected to expand at a 9.87% CAGR through 2031, making it the fastest-moving content category in the film and TV production industry. For buyers, the appeal is clear because documentaries usually require lower spend per hour than premium scripted drama while still supporting strong audience engagement. The category also fits well with current platform strategies because it can address crime, sports, music, celebrity, and current affairs without the full cost structure of high-end fiction. European catalog requirements keep documentary commissioning relevant for services that need a minimum share of regional works in market-facing libraries. Commercial and branded content, music videos, and other formats round out the film and TV production market by supplying steady short form demand from advertisers, labels, and smaller content owners.

Complete Report Scope:

• By Content Type
  • Feature Films
  • Television Series
  • Documentary and Non-Fiction
  • Commercials and Branded Content
  • Music Videos
  • Other Content Types
• By Production Stage
  • Pre-Production
  • Production
  • Post-Production
• By Client Type
  • Studios and Broadcasters
  • Streaming Platforms
  • Independent Producers
  • Advertising Agencies
• By Geography
  • North America
    • United States
    • Canada
    • Mexico
  • South America
    • Brazil
    • Argentina
    • Chile
    • Rest of South America
  • Europe
    • Germany
    • United Kingdom
    • France
    • Italy
    • Spain
    • Rest of Europe
  • Asia-Pacific
    • China
    • Japan
    • India
    • South Korea
    • Australia
    • Rest of Asia-Pacific
  • Middle East
    • Saudi Arabia
    • United Arab Emirates
    • Qatar
    • Rest of Middle East
  • Africa
    • South Africa
    • Egypt
    • Nigeria
    • Rest of Africa

Geography Analysis

North America accounted for 37.21% of the film and TV production market size in 2025, which kept it the largest regional base by value because of studio depth in the United States and incentive support in Canada. Entertainment Partners reported that U.S. domestic ticket sales in 2026 were running more than 20% ahead of 2025, and it projected domestic box office could reach USD 9.9 billion for the year. California, New York, and New Jersey continue to underpin production planning with large annual tax credit allocations, which gives the region a durable floor for studio and location spending. The region also benefits from dense finance, agency, union, and post-production networks that are difficult for smaller ecosystems to replicate quickly. South America is building a more diversified production base, and Mexico's 2026 EFICA launch shows how the region is using fiscal policy to strengthen domestic and co-production pipelines.

Europe remains one of the largest and most structured regions in the film and TV production market, supported by dense production ecosystems and formal regulatory frameworks. The European Audiovisual Observatory reported a record 2,523 feature films across 36 markets in 2024, which confirms the region's depth of active production. The same source valued the European audiovisual market at EUR 142 billion (USD 160 billion), which keeps Europe central to financing, commissioning, and rights activity. The UK's Independent Film Tax Credit has reinforced London and nearby studio infrastructure as a preferred setting for U.S.-funded co-productions. The Middle East is moving beyond service production as Saudi Arabia and the UAE expand infrastructure and incentives. Africa is still earlier in its development curve, yet Nigeria, South Africa, and Egypt remain active hubs, and Uganda's entry into the WIPO dataset with 63 film titles in 2024 shows that regional measurement and formalization are improving.

Asia-Pacific is projected to grow at a 10.12% CAGR through 2031, making it the fastest-growing geography in the film and TV production market. South Korea's audiovisual sector generated KRW 23,080 billion, USD 16.8 billion, across television, film, and VOD in 2024, highlighting the strength of local IP and export-ready production systems. AVIA expects SVOD subscriptions in Asia-Pacific to exceed pay-TV by more than 5 to 1 by 2031, which supports a longer shift of commissioning power toward digital buyers. Taken together, India, South Korea, China, and adjacent hubs are pulling more production capital eastward and steadily expanding the geographic weight of the film and TV production market.

1. The Walt Disney Company
2. Warner Bros. Discovery, Inc.
3. Comcast Corporation
4. Netflix, Inc.
5. Paramount Global
6. Sony Group Corporation
7. NBCUniversal Media, LLC
8. Amazon.com, Inc.
9. Apple Inc.
10. Lions Gate Entertainment Corp.
11. BBC Studios Limited
12. ITV Studios Limited
13. Fremantle Limited
14. Banijay Group
15. Hasbro, Inc.
16. A24, Inc.
17. Pinewood Group Limited
18. Deluxe Media Inc.
19. DNEG Group
20. Framestore Holdings Ltd.

Additional Benefits:

• The market estimate (ME) sheet in Excel format
• 3 months of analyst support

TABLE OF CONTENTS

1 INTRODUCTION

• 1.1 Study Assumptions and Market Definition
• 1.2 Scope of the Study

2 RESEARCH METHODOLOGY

3 EXECUTIVE SUMMARY

4 MARKET LANDSCAPE

• 4.1 Market Overview
• 4.2 Market Drivers
  • 4.2.1 Expansion of Streaming-First Commissioning
  • 4.2.2 Rising Demand for High-Value Localized Content
  • 4.2.3 Virtual Production Adoption in Studio Workflows
  • 4.2.4 Growth of Premium Post-Production and VFX Outsourcing
  • 4.2.5 Faster Greenlight Cycles Enabled by Data-Driven Development
  • 4.2.6 Demand for Cross-Platform Content Packages
• 4.3 Market Restraints
  • 4.3.1 Escalating Talent, Union, and Location Costs
  • 4.3.2 Financing Volatility for Mid-Budget Projects
  • 4.3.3 Regulatory Fragmentation Across Rights, Labor, and Content Rules
  • 4.3.4 Schedule Risk From Weather, Permits, and Production Interruptions
• 4.4 Industry Value Chain Analysis
• 4.5 Regulatory Landscape
• 4.6 Technological Outlook
• 4.7 Porter's Five Forces Analysis
  • 4.7.1 Bargaining Power of Buyers
  • 4.7.2 Bargaining Power of Suppliers
  • 4.7.3 Threat of New Entrants
  • 4.7.4 Threat of Substitutes
  • 4.7.5 Competitive Rivalry

5 MARKET SIZE AND GROWTH FORECASTS (VALUE)

• 5.1 By Content Type
  • 5.1.1 Feature Films
  • 5.1.2 Television Series
  • 5.1.3 Documentary and Non-Fiction
  • 5.1.4 Commercials and Branded Content
  • 5.1.5 Music Videos
  • 5.1.6 Other Content Types
• 5.2 By Production Stage
  • 5.2.1 Pre-Production
  • 5.2.2 Production
  • 5.2.3 Post-Production
• 5.3 By Client Type
  • 5.3.1 Studios and Broadcasters
  • 5.3.2 Streaming Platforms
  • 5.3.3 Independent Producers
  • 5.3.4 Advertising Agencies
• 5.4 By Geography
  • 5.4.1 North America
    • 5.4.1.1 United States
    • 5.4.1.2 Canada
    • 5.4.1.3 Mexico
  • 5.4.2 South America
    • 5.4.2.1 Brazil
    • 5.4.2.2 Argentina
    • 5.4.2.3 Chile
    • 5.4.2.4 Rest of South America
  • 5.4.3 Europe
    • 5.4.3.1 Germany
    • 5.4.3.2 United Kingdom
    • 5.4.3.3 France
    • 5.4.3.4 Italy
    • 5.4.3.5 Spain
    • 5.4.3.6 Rest of Europe
  • 5.4.4 Asia-Pacific
    • 5.4.4.1 China
    • 5.4.4.2 Japan
    • 5.4.4.3 India
    • 5.4.4.4 South Korea
    • 5.4.4.5 Australia
    • 5.4.4.6 Rest of Asia-Pacific
  • 5.4.5 Middle East
    • 5.4.5.1 Saudi Arabia
    • 5.4.5.2 United Arab Emirates
    • 5.4.5.3 Qatar
    • 5.4.5.4 Rest of Middle East
  • 5.4.6 Africa
    • 5.4.6.1 South Africa
    • 5.4.6.2 Egypt
    • 5.4.6.3 Nigeria
    • 5.4.6.4 Rest of Africa

6 COMPETITIVE LANDSCAPE

• 6.1 Market Concentration
• 6.2 Strategic Moves
• 6.3 Vendor Positioning Analysis
• 6.4 Company Profiles (includes Global Level Overview, Market Level Overview, Core Segments, Financials as available, Strategic Information, Products and Services, Recent Developments)
  • 6.4.1 The Walt Disney Company
  • 6.4.2 Warner Bros. Discovery, Inc.
  • 6.4.3 Comcast Corporation
  • 6.4.4 Netflix, Inc.
  • 6.4.5 Paramount Global
  • 6.4.6 Sony Group Corporation
  • 6.4.7 NBCUniversal Media, LLC
  • 6.4.8 Amazon.com, Inc.
  • 6.4.9 Apple Inc.
  • 6.4.10 Lions Gate Entertainment Corp.
  • 6.4.11 BBC Studios Limited
  • 6.4.12 ITV Studios Limited
  • 6.4.13 Fremantle Limited
  • 6.4.14 Banijay Group
  • 6.4.15 Hasbro, Inc.
  • 6.4.16 A24, Inc.
  • 6.4.17 Pinewood Group Limited
  • 6.4.18 Deluxe Media Inc.
  • 6.4.19 DNEG Group
  • 6.4.20 Framestore Holdings Ltd.

7 MARKET OPPORTUNITIES AND FUTURE OUTLOOK

• 7.1 White-Space and Unmet-Need Assessment