With 2020 continuing to drive a necessity for innovation, the British Association for Screen Entertainment (BASE) has, for the first time, announced the shortlisted nominees for the BASE Awards via a live online broadcast. Taking place on Thursday, July 2nd, the broadcast provided BASE members and the wider video category with a chance to connect with colleagues and raise a glass to congratulate the 82 individual nominees in the running for this year’s 23 awards categories.

For those who missed it, the broadcast is available to watch again here.

With a video message from the Awards’ brand new host, Sally Phillips, the broadcast also featured a few words from BASE Co-Vice Chair, Kevin Dersley, before the shortlist was announced. Speaking after the broadcast, BASE CEO, Liz Bales, added: “Everyone at BASE appreciates that colleagues across the category have been eagerly awaiting the announcement of this year’s BASE Awards shortlist and so we hope that our very first live broadcast hit the right note in providing teams with a moment to come together and celebrate. It’s right that we pause to acknowledge the hard work, dedication and innovation seen in the Awards entries from right across the category, not to mention the hard work from our esteemed judges who spent hours deliberating the results, and we have no doubt that the shortlist will engender the lively debate that typifies the run-up to the awards themselves.

“Much remains to be seen in terms of whether a live event is viable for the 2020 BASE Awards – as indicated previously, the November event will be reviewed against government advice in August but, irrespective of that, the shortlist announcement also redoubles our commitment to members that the winners and highly commended entries into this year’s awards will still be celebrated in 2020, regardless of how the appropriate response to the ongoing pandemic informs our thinking.”

With entries finalised and moderated during the first digital judging sessions in the Award’s history, the final line-up for the 40th anniversary of the BASE Awards now features all of the familiar and hard-fought categories along with three new or refreshed categories: External Team of the Year (previously Supplier of the Year), Campaign of the Year for Non-Traditional Release and the Category Hero Award. The Category Hero Award nominees will be announced in the coming weeks so we can take a moment to highlight the individual successes that led to their nomination.

BASE Awards 2020 – Shortlist


Physical Retailer of the Year – Sponsored by Universal Pictures UK



Tesco PLC


Online Physical Retailer of the Year – Sponsored by The Walt Disney Company





Digital Retailer of the Year – Sponsored by Warner Bros. Home Entertainment Group



Sky Store

Virgin Media Store


Outstanding Innovation – Retail

UCA – Universal Pictures / Sony Pictures with their Hybrid Tower

Tesco Plc, multibuys on FTP and STP products

Zoom at MCM Comic Con 2019 


Retailer Initiative of the Year:

DVD Aisle Revitalisation – Asda

Continued Innovation to Grow its Transactional Base – Sky UK

Zoom Pop-up shop at MCM Comic Con London – Zoom


In Store Theatre Initiative of the Year

Pizza Deals – Asda

Downton Abbey – Universal Pictures UK

Disney Product in Tesco 2019 – The Walt Disney Company Ltd


Campaign of the Year for Non-Traditional Release

Batman: Hush – Warner Bros. Home Entertainment Group

Jay and Silent Bob Reboot – Universal Pictures UK

The Vanishing – Lionsgate UK

Western Stars – Warner Bros. Home Entertainment Group


Campaign of the Year for FILM – Up to £1m Box Office

Bait – BFI

Brightburn – Sony Pictures Home Entertainment

Hunter Killer – Lionsgate UK


Campaign of the Year for FILM – £1m – £1.99m Box Office

Apollo 11 – Dogwoof Ltd / Universal Pictures UK

Hellboy – Lionsgate UK

Mortal Engines – Universal Pictures UK

Overlord – Universal Pictures UK on behalf of Paramount Pictures


Campaign of the Year for FILM – £2m – £4.99m Box Office

Nativity Rocks – Universal Pictures UK on behalf of Entertainment One

Rambo: Last Blood – Lionsgate UK

Robin Hood – Lionsgate UK


Campaign of the Year for FILM – £5m – £14.99m Box Office

Angel Has Fallen – Lionsgate UK

Bumblebee – Universal Pictures UK on behalf of Paramount Pictures

John Wick: Chapter 3 – Parabellum – Lionsgate UK

Pokémon Detective Pikachu – Warner Bros. Home Entertainment Group

Spider-Man: Into the Spider-Verse – Sony Pictures Home Entertainment

Yesterday – Universal Pictures UK


Campaign of the Year for FILM – £15m – £24.99m Box Office

Aquaman – Warner Bros. Home Entertainment Group

How To Train Your Dragon: The Hidden World – Universal Pictures UK

Rocketman – Paramount Home Media International

Venom – Sony Pictures Home Entertainment


Campaign of the Year for FILM – Over £25m Box Office

A Star is Born – Warner Bros. Home Entertainment Group

Avengers: Endgame – The Walt Disney Company Ltd

Downton Abbey – Universal Pictures UK

Spider-Man: Far From Home – Sony Pictures Home Entertainment


Campaign of the Year for TV – Sponsored by Spirit Entertainment 

Doctor Who: The Macra Terror – BBC Studios

Mrs Brown’s Boys – Universal Pictures UK

Outlander Season 4 – Sony Pictures Home Entertainment

Tom Clancy’s Jack Ryan: Season 1 – Universal Pictures UK on behalf of Paramount Pictures


Campaign of the Year for Catalogue: Single Product

Apocalypse Now: Final Cut – Studiocanal

Doctor Who: Season 26 Collection Boxset – BBC Studios

The Italian Job – 50th Anniversary – Universal Pictures UK on behalf of Paramount Pictures

Marvel Studios Cinematic Universe: Phase 3, Part 2 – The Walt Disney Company Ltd

Mean Girls – 15th Anniversary – Universal Pictures UK on behalf of Paramount Pictures

Schindler’s List – 25th Anniversary Edition – Universal Pictures UK


Campaign of the Year for Catalogue: Multiple Product

Cinema Magic – The Walt Disney Company Ltd

Digital Recruitment – The Ultimate Winter Watch List – Warner Bros. Home Entertainment Group

Summer Adventures – The Walt Disney Company Ltd


PR / Publicity Initiative of the Year

The Favourite – 20th Century Fox Home Entertainment / The Walt Disney Company Ltd

Jay & Silent Bob Reboot – UPHE Content Group, NBC Universal

John Wick: Excommunicado – Lionsgate UK


External Team of the Year – Sponsored by West 10

Grapevine Digital

Obviously Creative

Target Group (Organic & Target Media)


Outstanding Innovation – Distribution – Sponsored by Obviously Creative

Digital Gifting – Sony Pictures Home Entertainment

Harry Potter Advent Calendar – Warner Bros. Home Entertainment Group

Seven Worlds, One Planet – Sustainable Packaging – BBC Studios

Universal Interns Green Challenge Initiative – Universal Pictures UK


Creative Marketing Initiative of the Year – Sponsored by Lionsgate UK

Bohemian Rhapsody Treasure Truck – 20th Century Fox Home Entertainment / The Walt Disney Company Ltd

Creative Identity & Big Movie Night In – Sky Store

The Crown: Complete Boxset – Sony Pictures Home Entertainment

Mega Movie Week – Obviously Creative


Distributor of the Year

To be announced at awards ceremony

Title of the Year

To be announced at awards ceremony

Category Hero

To be announced shortly

This year the British Association for Screen Entertainment brought the 40th anniversary BASE Awards home, with entrants and colleagues from across the industry finding their own ways to celebrate while they watched a series of specially made awards videos that announced who was commended, highly commended or a winning entry for this year’s 24 BASE Awards.

After an introduction from Liz Bales, CEO and Lesley Johnson, Co-Vice Chair of BASE, the first video took a moment to reflect on all of the remarkable content submitted into this year’s Awards, providing viewers with the opportunity to reflect on and be re-inspired by the huge range of stellar content on show. The subsequent videos each revealed the winners of a different section of awards, starting the evening with Retail Awards followed by Box Office categories, then moving on to Non-Theatrical content and Special Awards, before a stirring video dedicated to the recipients of the inaugural Category Hero Awards.

In the retail-focussed categories, Asda led the way with two wins, including Retailer Initiative of the Year for their DVD Aisle Revitalisation work, while Sky Store and Amazon also received an award each, for Digital Retailer of the Year and Online Physical Retailer of the Year respectively. Moving onto Box Office and Non-Theatrical sections, Lionsgate UK led the way by winning three out of the six Box Office categories as well as PR/Publicity Initiative of the Year for their John Wick: Excommunicado activity. Universal Pictures UK and Warner Bros. Home Entertainment Group also had a fantastic year, both winning three awards each, as did Sony Pictures Home Entertainment whose strong performance across their TV content secured two of their three wins.

Looking at this year’s Special Awards, toppling Universal Pictures UK’s run of four consecutive wins, The Walt Disney Company won this year’s Distributor of the Year award, and in conjunction with Twentieth Century Fox Home Entertainment, also took Title of the Year, thanks to the behemoth that is Bohemian Rhapsody. Due to the huge volume of impressive entries into this year’s Outstanding Innovation Award, the judges made the decision to split the category into two; Retail and Distribution. Winning the Distribution Award was BBC Studios, for their ground-breaking work on Seven Worlds, One Planet – Sustainable Packaging, while the Retail Award went to UCA for their Hybrid Tower, which was one of two awards for the Universal UK/Sony Pictures collaborative venture this year, which also included External Team of the Year – Industry Supplier. Our Awards partner Obviously Creative also saw success this year in this group of Awards, winning External Team of the Year – Creative Agency.

Finally, the first ever Category Hero Awards rounded off this year’s 40th Anniversary event, created to acknowledge some of the individuals in the category who consistently go above and beyond and are deserving of special recognition for their outstanding contribution. Thanks to generous nominations from industry colleagues, there are seven recipients of the award this year; Andy Anderson (formerly of HMV), Robert Callow (Spirit Entertainment), Vicki Davis (Universal Pictures UK), James Gallagher (BASE, the Industry Trust & the DEGI), Mark Horton (formerly of Twentieth Century Fox Home Entertainment), Andy Snook (SilkFactoryAV) and Andrew Thompson (ASDA).

Kevin Dersley, Co-Vice Chair, BASE / Managing Director, Elevation Sales said: “This year it is more important than ever to remind ourselves of the consistent commitment and dedication demonstrated across the video category, so I would like to thank all of the entrants for engaging with this year’s BASE Awards, and allowing us to shine a spotlight on their incredible achievements. I would like to extend my deepest congratulations to all of the winners, both teams and individuals, and those entries that the judges chose to Highly Commend and Commend – it is down to you that this category has been able to adapt to all of the changes seen over the last 40 years, and will continue to show resilience and flexibility as we continue to tackle the challenges of 2020 into next year.

Liz Bales, Chief Executive, British Association for Screen Entertainment said: “Due to an extraordinary year, our customary celebrations have been moved online for the first time, but we are no less excited to be honouring the huge host of accomplishments submitted by BASE members and category colleagues in this year’s BASE Awards. As always, the BASE Awards are only possible with the help and support of our partners and sponsors, and this year in particular, the huge amount of flexibility and pragmatism shown by everyone involved throughout the planning process. We hope that all of our nominees were able to raise a glass and celebrate safely in their own way while watching our announcement videos, and we cannot wait to dust off our dancing shoes and party with you in person once again next year.”

This year’s Awards were generously sponsored by: Action for Children, BBC Studios, Fero, FindAnyFilm.com, Huckleberry Recruitment, Lionsgate UK, Obviously Creative, Official Charts Company, Organic, The Raygun, Spirit Entertainment, StudioCanal, Universal Pictures UK, Visual Data, The Walt Disney Company Ltd, Warner Bros. Home Entertainment Group and West 10.

Special thanks to Awards partners: Obviously Creative, Premier and Snakes and Ladders.

Click here to view the Announcement Videos and access the Awards Programme.


The full list of BASE Awards winners:


DISTRIBUTOR OF THE YEAR – Sponsored by The Official Charts Company

The Walt Disney Company Ltd


TITLE OF THE YEAR – Sponsored by The Official Charts Company

Bohemian Rhapsody – Twentieth Century Fox Home Entertainment / The Walt Disney Company Ltd


PHYSICAL RETAILER OF THE YEAR – Sponsored by Universal Pictures UK






Tesco PLC


ONLINE PHYSICAL RETAILER OF THE YEAR – Sponsored by The Walt Disney Company Ltd








DIGITAL RETAILER OF THE YEAR – Sponsored by Warner Bros. Home Entertainment Group


Sky Store



Google Play

Prime Video

Virgin Media Store




DVD Aisle Revitalisation – ASDA



Continued Innovation to Grow Their Transactional Base – Sky Store



Zoom Pop-up shop at MCM Comic Con London – Zoom




Downton Abbey – Universal Pictures UK



Pizza Deals – ASDA




Western Stars – Warner Bros. Home Entertainment Group



Jay and Silent Bob Reboot – Universal Pictures UK




John Wick: Excommunicado – Lionsgate UK



The Favourite – Twentieth Century Fox Home Entertainment / The Walt Disney Company Ltd



Jay and Silent Bob Reboot – UPHE Content Group, NBC Universal




Mean Girls 15th Anniversary – Universal Pictures UK (on behalf of Paramount Pictures)



Apocalypse Now: Final Cut – StudioCanal



Doctor Who: Season 26 Collection Boxset – BBC Studios

The Italian Job – 50th Anniversary – Universal Pictures UK (on behalf of Paramount Pictures)




Digital Recruitment – The Ultimate Winter Watch List – Warner Bros. Home Entertainment Group



Cinema Magic – The Walt Disney Company Ltd




The Crown: Complete Boxset – Sony Pictures Home Entertainment



Bohemian Rhapsody Treasure Truck – 20th Century Fox Home Entertainment / The Walt Disney Company Ltd

Mega Movie Week – Obviously Creative




Obviously Creative



Grapevine Digital



Target Group







Spirit Entertainment


CAMPAIGN OF THE YEAR FOR TV – Sponsored by Spirit Entertainment


Outlander Season 4 – Sony Pictures Entertainment



Mrs Brown’s Boys – Universal Pictures UK



Doctor Who: The Macra Terror – BBC Studios


CAMPAIGN OF THE YEAR FOR FILM – UP TO £1M BOX OFFICE – Sponsored by Action for Children


Hunter Killer – Lionsgate UK



Brightburn – Sony Pictures Home Entertainment



Bait – BFI


CAMPAIGN OF THE YEAR FOR FILM – £1M-£1.99M BOX OFFICE – Sponsored by Visual Data


Hellboy – Lionsgate UK



Overlord – Universal Pictures UK (on behalf of Paramount Pictures)



Apollo 11 – Dogwoof Ltd / Universal Pictures UK


CAMPAIGN OF THE YEAR FOR FILM – £2M-£4.99M BOX OFFICE – Sponsored by Huckleberry Recruitment


Nativity Rocks – Universal Pictures UK (on behalf of Entertainment One)



Rambo: Last Blood – Lionsgate UK



Robin Hood- Lionsgate UK


CAMPAIGN OF THE YEAR FOR FILM – £5M-£14.99M BOX OFFICE – Sponsored by Huckleberry Recruitment


John Wick: Chapter 3 – Parabellum – Lionsgate UK



Pokémon Detective Pikachu – Warner Bros. Home Entertainment Group



Bumblebee – Universal Pictures UK (on behalf of Paramount Pictures)


CAMPAIGN OF THE YEAR FOR FILM – £15M-£24.99M BOX OFFICE – Sponsored by Fero


Venom – Sony Pictures Home Entertainment



Aquaman – Warner Bros. Home Entertainment Group

Rocketman – Paramount Home Media International




A Star is Born – Warner Bros. Home Entertainment Group



Spider-Man: Far From Home – Sony Pictures Home Entertainment




Seven Worlds, One Planet – Sustainable Packaging – BBC Studios



Digital Gifting – Sony Pictures Home Entertainment



Harry Potter Advent Calendar – Warner Bros. Home Entertainment Group

Universal Interns Green Challenge Initiative – Universal Pictures UK




Hybrid Tower – UCA – Universal Pictures UK / Sony Pictures Home Entertainment



Zoom at MCM Comic Con 2019 – Zoom

Multibuys on FTP and STP products – Tesco Plc


CATEGORY HEROES – Sponsored by BBC Studios


Andy Anderson – Former DVD Product Manager, HMV

Robert Callow – Managing Director, Spirit Entertainment

Vicki Davis – Head of Customer Experience, Universal Pictures UK

James Gallagher – Senior Marketing Manager, BASE, The Industry Trust for IP Awareness & The DEGI

Mark Horton – Former Marketing Director, Twentieth Century Fox Home Entertainment

Andy Snook – Director of Production and Founder, SilkFactoryAV

Andrew Thompson – Senior Buying Manager – Music, Video, Games & Books, ASDA

A Must See Movies 80s celebration is confirmed from Saturday 10th October, in collaboration with the upcoming National Album Day. Elevating the music campaign, this year BASE has joined forces with ERA to launch a new curated range of titles in tandem with a larger body of activity featuring unique album releases, online listening parties and wider PR activity spearheaded by the BBC, all celebrating the cultural highlights from the 1980s.

Supermarkets and retailers including Amazon, ASDA, HMV, Morrisons, and Tesco will be stocking an exclusive selection of classic 80s film titles submitted by BASE members including; High Fliers Films Plc, Lionsgate, NBCUniversal, StudioCanal, The Walt Disney Company and Warner Bros. UK. The new range is one of Must See Movies’ most diverse and genre spanning collections to date, including titles such as Big, Blade Runner, Bill & Ted’s Excellent Adventure, Cocktail, Conan The Destroyer, Dirty Dancing, Dune, ET, Ghost, Ghostbusters, The Goonies, Labyrinth, The Lost Boys, Purple Rain, Robocop, Stand By Me, Top Gun and Who Framed Roger Rabbit.

This promotion will take place with participating retailers across October, with each offering their own unique selection of titles, encouraging consumer engagement with physical formats across the video category, amplifying energy and excitement across the wider entertainment industry, as we move into Q4. From cult classics to defining movies of the era, there really is something for everyone.

Further to the Must See Movies 80s range being flagged across ERA’s consumer and corporate comms linked to National Album Day, BASE has generated an exciting and engaging supplementary PR campaign to drive additional awareness with consumer press. Alongside a full press office sell-in and a suite of social support driven by FindAnyFilm.com, BASE has enlisted the Official Charts Company to drive further interaction with the campaign through the Ultimate 80s Movie Poll which can be found here, bolstered even more by HMV.com who will be challenging consumers on their 1980’s movie trivia. Both quiz and poll will be pushed out across social media, fuelled by participating members showcasing a selection of bespoke digital and social assets, each calling out key titles within their own catalogue.

National Album Day sees the music and artist community come together with the support of BBC Sounds and partners such as Classic Album Sundays for a series of events and activities in the lead up to 10th October that will celebrate the UK’s love for the album and the craft that goes into making this culturally significant body of work.

BASE CEO, Liz Bales commenting on the launch said “Collectors and film fans remain the driving force across physical market sales, this new collaboration is intended to drive engagement with a wider audience within grocery and high-street outlets. A powerful nostalgia-driven 1980s hook, complete with curated collection of titles from the era, provide an appealing promotion designed to entice mainstream shoppers. This, alongside further physical activity to be confirmed within Q4, continues BASE’s cross-category work to support physical retail well into 2020 and beyond. We hope to see a healthy uplift of sales in these titles throughout the month, from the well-loved classics through to the lesser known gems from the decade.”

 ERA Chief Executive, Kim Bailey further commented “National Album Day is about bringing people together over their love of the album. With two successful editions already under our belt, 2020 is the perfect opportunity to extend the campaign to physical video retailers with a selection of product that perfectly complements the era of 80s music and entertainment. Campaigns like National Album Day are a great industry example of what can be achieved when record labels, artists, media and retailers come together to support a common goal and so we are delighted to welcome studios to the celebrations this year.”

The UK’s Official Charts Company today announces the launch of a brand new digital rental chart and data service for the British video sector.

The new service will provide the video category with the first monthly VOD chart service in the world to be based on data from digital retailers, delivering a view of consumer engagement with transactional video-on-demand (VOD) services.

Digital retailers providing data for the new chart include Amazon, Apple, Rakuten, Sky Store and Talk Talk TV, with the service supported by the Entertainment Retailers Association (ERA) in tandem with UK video trade body the British Association for Screen Entertainment (BASE). Discussions are also ongoing with additional digital retailers to expand the panel moving forward.

The launch of the inaugural chart follows a period of rapid growth in VOD activity during the COVID-19 lockdown, with data for the first half of 2020 showing an average of 600,000 rentals per week before lockdown, rising to more than 1m rentals a week after lockdown was implemented. The new data also shows Contagion was the most rented title for the two weeks leading up to lockdown (in week 13 2020).

The scale of rental’s popularity is certainly underlined by the report, with more than 21m rental transactions made in the six months to June 30. Joker was the most-rented title with more than 600,000 rental transactions to June, closely followed by Jumanji: The Next Level with an impressive 450,000 rentals to June, with Rian Johnson’s Knives Out taking the number three position in the half year charts.

The monthly Official Film Rental Chart will be published in the middle of every month starting in October, together with the latest Official Charts Company monthly data report. The report and charts are published on a month’s delay, but with weekly breakdowns to provide the greatest degree of granularity. The report will be provided to all existing Official Charts clients, with deeper data available on request.

Martin Talbot, CEO at Official Charts Company, said: “We are delighted to deliver this world-first service and throw a light on the British public’s film rental habits. The list of the most popular titles illustrates just what a wide range of tastes the British public has, from Frozen 2 to Joker, or Jumanji to 1917 – as well as how huge the rental market remains in the UK, with more than 1m transactions in the majority of weeks this year so far.”

Liz Bales, CEO at BASE, said: “Alongside the Official Film Chart, which has been delivering a weekly snapshot of the EST film titles audiences are engaging with for nearly two years now, the world-first VOD chart marks a further significant step in giving distribution and retail a view of how film fans are consuming across a burgeoning digital landscape. We’ve worked hard with our colleagues at the Official Charts Company to unlock much of the data needed for these developments and are excited to be able to offer the category a valuable, regular view of the key trends across genre, product age and the wider effects of seasonality, theatrical drafting and even how the news agenda informs the entertainment audiences are seeking out.

Kim Bayley, CEO at ERA, said: “The days of rushing to get your VHS cassette back to the rental store in time may be long behind us, but these numbers show that rental is still an incredibly popular way of enjoying films at home in the digital age, with lockdown only accelerating that trend. Congratulations to the Official Charts Company on an innovation which will not only provide vital business information for film studios, but also gives a fascinating insight into what the UK is watching.”

The Official Film Rental Chart – January-June 2020

Title Label

It’s with great sadness that we share the news that Donald MacLean, the founder of the British Video Association, has passed away in the same month that the organisation, now known as BASE, marks its 40th anniversary.

As well as being the first chairman of the BVA in 1980, MacLean was also the founding chairman of the Federation Against Copyright Theft in 1983, the Federation Against Software Theft in 1984, the Video Standards Council and the Entertainment and Leisure Software Publishers Association (now Ukie) both in 1989.

With those organisations coming together to help form the Alliance for Intellectual Property, MacLean was clearly a visionary and instrumental in creating a legacy that continues to champion and protect the broader entertainment category to this day. Typically modest, MacLean recalls his legacy with a generosity of spirit in his highly entertaining blog, stating: “This evening Ann and I will go to a party on the riverside terrace of the Houses of Parliament. It’s the first annual reception of an alliance of 19 organisations in creative fields. I was founder and first chairman of five of them. I’m happy that they are all flourishing and am delighted that Lavinia Carey, the able young lady who directs [the BVA] has succeeded in persuading all of them to collaborate in this Alliance.”

Carey, Director General of the BVA for more than 20 years until 2014, recalls MacLean with affection, stating: “He was a very smart man. My recollections of speaking to Donald revolve around what had or hadn’t changed over the decades between the foundation of the BVA and the last few years of my position as its Director General. Donald had great foresight and wisdom in setting the most important objectives for the new trade association in 1980. He made copyright protection a priority for the industry that has stood the test of time, just as he also set a similarly rigorous focus on video standards.”

Iain Muspratt, member of the BVA founding Board and later Vice Chair and Chair said: “Few achieve the status of ‘Giants’ within their chosen arenas. Donald did just that.  Having been a great innovator in television, Donald was instrumental in taking the then fledging and disparate ‘Home Video’ industry and encouraging it to develop its essential flair to become ever more professional – both in its standing with the long established Film and Television sectors and in the responsibilities it had to the wider society it served. Without Donald there would have been no BVA, nor would FACT have been established by merging the efforts in fighting piracy into one organisation, and Statutory Legislation would have been much more severe.  Always considered and pragmatic, Donald harnessed all his individual entrepreneurial flair into turning the BVA into the extremely effective and respected organisation it is. We are in his debt and very sorry to lose such a great ‘citizen’ but pleased he had such a long and fulfilling life.”

BASE’s current CEO, Liz Bales, added: “I never had the pleasure of meeting Donald, but we all owe much to his tenacity and prudence in creating an organisation that has endured for more than 40 years and that has consistently played a pivotal role in driving the industry forward as it continues to evolve. Our thoughts are with his family and friends and we will proudly continue to honour his legacy for decades to come.”

Data released by the British Association for Screen Entertainment (BASE) and compiled by The Official Charts Company (OCC) has shown that consumer spend on digital film to buy and keep grew by more than 87 per cent during the lockdown period to a year-to-date value of £113 million to the end of June as Britons turned to digital retailers[1] to access entertainment content at home. Examining the wider transactional video market, Kantar further reports that 1.8 million new customers either bought or rented digital content during lockdown, taking the number of consumers transacting digitally in that period to a record high of 5.5 million[2].

Transactional Successes

In the 12 week period from March 28 when the Government introduced its Stay Home policy, according to OCC data (which only considers bought as opposed to rental product) digital purchase accounted for 51 per cent of the market as consumers engaged with the depth of range of titles available through digital home viewing options, with 49 per cent still attributed to sales of physical media (DVD, Blu-ray and 4K UHD). While growth in digital ownership was already evident, with its share at 29 per cent in the same period in 2019 and at 37 per cent in the 12 weeks prior to lockdown, it is clear that digital video has made huge gains at a time when many of us were forced to stay home.

Annotation 2020-07-22 144713

Falling disc sales prior to the pandemic translated to an overall decline in the transactional video market, but the performance of digital transactional in lockdown has reversed that trend, with whole video market growth of 6.9 per cent in value terms delivering a significant 21 point swing. During the lockdown period, disc proved to be remarkably resilient even in the context of many bricks and mortar retailers either being forced to close or to pivot to focus on essential provisions. Even with those challenges, with premium formats like Blu-ray and 4k UHD continuing to appeal and an increased engagement from consumers with TV box sets on disc, the disc market maintained a predominantly flat value position year-on-year

Performance across the market can to some extent be attributed to a strong and engaging release slate, with a pipeline of theatrical successes becoming available for purchase on digital platforms, for many filling the gap left by the forced, temporary closure of cinemas. During the lockdown period blockbusters like Jumanji: The Next Level, Star Wars: The Rise Of Skywalker, 1917 and Frozen 2 were joined on digital platforms by family-friendly releases such as Sonic The Hedgehog and Onward, as well as critically lauded films like Knives Out and Jojo Rabbit, with average volume sales for digital purchase rising from more than 350,000 units per week in the 12 weeks from the start of 2020 to more than 565,000 units a week in the 12 weeks from March 28. Additionally, a limited selection of titles responded to the closure of the cinema estate by releasing to digital platforms earlier than planned, with benefactors of this strategy including Bloodshot and Birds Of Prey alongside the aforementioned Sonic The Hedgehog and Onward.

While the average selling price for a digital copy has risen year-on-year by 4.4 per cent to £8.51, the fact that the ASP has fallen marginally against its pre-lockdown position suggests that audiences are also engaging with the value proposition offered by the breadth and depth of catalogue content available through digital retailers alongside the pick of titles fresh from the cinema. The diverse range of older titles that digital customers have sought out during the pandemic includes classics such as Forrest Gump, Top Gun, Grease, Apocalypse Now and titles from the Harry Potter franchise, with titles released pre 2010 representing 38 per cent of all digital sales during lockdown.

Liz Bales, Chief Executive at BASE, said: “With nearly two million new customers[3] buying or renting entertainment content from a digital store during the lockdown period and contributing to the wider transactional video market returning to growth, the digital transactional market has been a beneficiary of the fact that the government’s Stay Home policy provided the right environment for it to flourish. With new release and catalogue content available instantly and without subscription, digital content has been able to play an important role for many in providing some much-needed light relief from the reality of lockdown.

“The fact that more than half of consumers anticipate they will maintain habits formed during lockdown[4], such as engaging more broadly with digital delivery, underlines the need for the video category to optimise around the opportunity delivered by the growth it has seen. Historically, home entertainment has proved robust in times of economic crisis and the addition of a meaningful number of new customers to digital transactional, alongside the resilience of the disc market, means the video category at large has plenty to build upon even as consumer confidence and discretionary spend potentially become challenged as we look to the future.”

VOD drives further growth

While OCC provides a view of owned digital and physical media, Kantar offers a more holistic view of the digital market including Video On Demand (VOD) or rental transactions. Craig Armer, Strategic Insight Director at Kantar, says: “Across both digital purchase and rental, numbers have boomed during the lockdown period, with new and existing customers contributing to some 7.9 million transactions, up more than 22 per cent on the same period last year and more than the same period in 2018, which supports the story of the transactional video category returning to growth.” He added: “The number of transactional VOD customers has actually doubled to the point that VOD accounted for more than 28 per cent of the transactional video market in lockdown versus around 13 per cent for the same time last year. Across the digital video landscape the overall number of digital customers renting or purchasing is now at a record 5.5 million. While digital spend is growing across all age groups, it’s worth noting that VOD appeals to younger shoppers and digital purchase resonating more strongly with an older demographic perhaps more used to curating a collection.”

Annotation 2020-07-22 144750

Families engage with Premium VOD

One area of innovation driven by lockdown and the response to the cinema estate being closed was the debut of so-called Premium VOD (PVOD) offerings, with titles earmarked for theatrical release appearing on VOD services early. Titles released in this model included Trolls World Tour, The Invisible Man, Emma, The Hunt and Military Wives, with PVOD offerings accounting for 6.2 per cent of all digital rentals over the lockdown period according to data from Kantar. Due to the higher price point of these premium offerings, that figure translates to a 19 per cent share of rental spend in the period, with Kantar estimating that more than half a million customers experimented with the new release format. In keeping with the PVOD success of Trolls World Tour, families have the largest share of spend and are accessing content through their TVs rather than through other devices, endorsing the popularity of the movie night in that continues to be a key occasion for transaction and, in lockdown, a welcome break from the situation the nation was dealing with.

[1] Digital retailers are defined as platforms where home entertainment content can be bought or rented and include Amazon Prime Video, the Apple TV app, BT TV Store, CHILI, Google Play Store, Microsoft Store, PlayStation Store, Rakuten TV, Sky Store, Talk Talk TV and Virgin Media Store.

[2] 5.5 million people transacting in the 12 weeks of lockdown represents a record high. For reference, 14.7 million people transacted across digital purchase and rental in the 52 weeks to 12th Jan, 2020.

[3] ‘New customers’ are defined as not having transacted in the last two years.

[4] McKinsey & Company Global Consumer Sentiment Survey, May 2020.

With the Covid-19 pandemic and resulting lockdown continuing to severely restrict normal life, it will be no surprise to hear that 2020’s BASE Awards have been rescheduled, with plans well advanced to now deliver the event in the fourth quarter. It remains the full and clear intention of the BASE team to celebrate the category’s successes from 2019 and to provide a moment in 2020 to gather and raise a glass with colleagues if it is possible to do so safely.

The pandemic is clearly a complex and evolving scenario but it is hoped that the effective implementation of social distancing measures and the heroic work of the NHS will see a version of normality begin to return as summer gives way to autumn and beyond. It is with that hope in mind that we are announcing the new date for the BASE Awards as Thursday, November 12th, 2020. Clearly, with more than 500 guests expected to attend, the new date will remain under review as advice on and sentiment towards large public gatherings continues to evolve. The BASE team anticipates that it will sense check the viability of a November event in early August.

While the event will still be taking place at Camden’s iconic Roundhouse, the new date isn’t the only change – we are genuinely excited to be able to confirm that actor, writer and comedian Sally Phillips will be your brand new host for the evening. Having exploded onto screens in the late 1990s with the brilliant Smack The Pony, Phillips has cemented a position as one of the country’s best-loved stars of both the big and small screens, with defining roles as Shazzer in the Bridget Jones series and Tilly in Miranda serving as a gateway to international renown in hits as diverse as HBO’s Veep and ITV’s sumptuous Vanity Fair. We’re sure she will bring a fresh and positive energy to the night we’re looking forward to sharing with you all.

We are proposing that tickets and sponsorship packages that have already been confirmed will automatically carry over to the new date, although we would welcome feedback as to the onward, appropriate management of further ticket sales.

Finally, the shortlisted nominees for this year’s Awards will be announced on Thursday, July 2nd. The announcement underlines that, following the success of the digital judging sessions and the time and effort that has gone into all of this year’s entries, the BASE team remains committed to celebrating your successes regardless of what else the pandemic may place in the way. In the meantime, we’d like to wish you all the very best of luck and good health, and look forward to seeing you all soon.

London, 3rd January 2020: Figures released today by the British Association for Screen Entertainment (BASE) and based on data from the Official Charts Company and Futuresource Consulting, show that the home entertainment sector grew by 9.5 per cent in 2019, bringing the total market value to £2.6 billion.

A proliferation of consumption models, including traditional physical media and digital consumption at home and on the move, means that access to home entertainment content is more pervasive than ever before. With subscription streaming services now an entrenched layer of the home entertainment industry, 65.9 per cent of market value is generated by SVOD services such as Netflix or Amazon Prime Video. These services not only provide a diversity of choice for consumers, but they also serve as a launchpad for high-quality original content that often then goes on to reach an even wider audience via transactional formats.

Diversity of choice has had a direct effect not only on consumption but on production as well; the news of a deal between Netflix and Shepperton Studios viewed in the wider context of Disney’s long term deal with Pinewood and Comcast’s development of a film lot in Dagenham all points to an even greater diversity choice and consumption that will only grow as direct to consumer services like Disney+ and a host of additions come to market in 2020.

The picture is far from black and white, however. With 39.6 per cent of SVOD subscribers also transacting on physical or digital formats4, as well as the 7.2 million consumers without subscriptions4, the transactional home entertainment market remains vital and worth more than £891 million in 2019. 54 per cent of that value is attributed to the purchase of DVD, Blu-ray and 4K UHD formats, underlining that where ownership is concerned, the disc is currently still the preferred choice for many fans, collectors and gifters. In fact, 42 per cent of consumers who made a physical transaction within the past 12 months did so to add to a collection, 43 per cent bought to give as a gift, and 46 per cent so they could re-watch on multiple occasions5.

When purchasing physical formats, UK consumers are increasingly seeking out the highest quality home entertainment experiences, with Blu-ray now accounting for 27 per cent of the disc market value, up from 24.3 per cent in 2018. The enduring appeal of disc is seeing consumers invest in higher-end hardware, and utilise the Blu-ray and 4K UHD capabilities of games consoles, in turn driving the premium disc market with an increase in average selling price across the Blu-ray format, up 4.7 per cent year-on-year to £14.88. Within the Blu-ray format, 4K UHD sales have seen yet another year of growth, now representing 16.3 per cent of the Blu-ray market, and a total of 4.3 per cent of the overall disc market. With a host of marketing assets promoting the benefits of the ultra-high definition format now in retailers nationwide, fans are able to build their 4K UHD collections with more than 450 titles now available on the format.

At the same time, growth in EST (electronic sell-through, or digital purchase) of 4.5 per cent volume and 3.5 per cent value3 suggests that the digital revolution that has taken place in recent years is increasingly permeating the choices consumers are making for owned media too, with increasing numbers of consumers opting to grow their digital collections as well as the collections on shelves at home. On average across the top 10 titles of 2019, digital purchase now accounts for 33 per cent of copies sold, with two titles (Twentieth Century Fox’s Bohemian Rhapsody and The Walt Disney Company’s Avengers: Endgame) selling in excess of half a million digital copies. Indeed, all of the EST top 10, including hits like Toy Story 4 and Sony Pictures Home Entertainment’s Venom, sold in excess of 175,000 units as digital transaction becomes further embedded in consumer behaviour as one of a suite of options for accessing video content.


Chart Breakdown2

Standout home entertainment content continues to inspire UK customers to transact, with the top 10 combined disc and digital titles all selling more than half a million copies in 2019, and a mixture of music-led and action-adventure titles leading the way. In the year that Twentieth Century Fox was subsumed into The Walt Disney Company, the former studio undoubtedly went out on a high, with Bohemian Rhapsody rocking the competition to become the best-selling title of the year with more than 1.70 million copies sold across physical and digital home entertainment formats. The success of the Freddie Mercury biopic came on the heels of Fox’s 2018 runaway success, The Greatest Showman, which itself continued to perform strongly in 2019, selling a further 468,000 copies across all formats (giving it total sales to date of more than 3.1 million copies). Warner Bros. Home Entertainment’s A Star Is Born also capitalised on the nation’s love of musical dramas, selling 702,000 copies, while the soundtrack also enjoyed huge success on the music charts.

Leading with 18.6 per cent of disc value market share, The Walt Disney Company had a particularly strong year across all formats, with titles such as Toy Story 4 (827,000 copies), Mary Poppins Returns (751,000 copies) and Ralph Breaks the Internet (360,000 copies) seeing families flock to shops and digital platforms, as well as live-action and photo-realistic remakes of classic Disney animations; Aladdin (637,000 copies), The Lion King (679,000 copies) and Dumbo (392,000 copies). Huge Marvel hits including Avengers: Endgame, which sold more than 1.33 million copies to land at second place on the combined chart, Captain Marvel (638,000 copies), and catalogue title Avengers: Infinity War (351,000 copies) featured in the best-selling titles of the year.

Proving that depth of content is vital, Universal Pictures Home Entertainment continues its reign as the largest disc distributor based on volume, and with broad success across not only the studio slate, but also Paramount Pictures, DreamWorks and, as of August, Entertainment One. Tapping into the recent wave of successful music-led films, Rocketman came out on top as the studio’s best-selling disc title in 2019, Danny Boyle’s Beatles-inspired hit, Yesterday, performed well, and even outside of its New Release window, Mamma Mia! Here We Go Again became the studio’s fourth bestselling title in 2019. Returning franchises including How To Train Your Dragon: Hidden World, Johnny English Strikes Again and The Secret Life of Pets 2 saw strong sales, while spinoffs and remakes including Bumblebee and The Grinch, also boosted the Studio’s market share.

Adding to the raft of action-adventure films the consumers loved in 2019, the latest instalment in the Wizarding World franchise, Fantastic Beasts: The Crimes of Grindelwald (Warner Bros. Home Entertainment), brought a dose of magic to the home entertainment market, selling more than 662,000 copies including boxsets, while super-anti-hero, Venom (Sony Pictures Home Entertainment), had a strong first outing, ending the year in eighth place in the combined chart with sales of 653,000.

In the TV market, Game of Thrones: Complete 8th Season (Warner Bros. Home Entertainment) delivered an extraordinary end to the year, with more than 192,000 copies of the culmination of George RR Martin’s opus sold in the final four weeks of the year, topping the TV title chart and landing in the top 10 chart for consumer spend on disc, and also helping the Game of Thrones catalogue secure the title of best-selling TV franchise of 2019.

Flying the flag for original TV content, Chernobyl (Acorn Video by RLJ Entertainment) saw sales of 116,000, making it the second highest selling TV title of the year. BBC Studios continued to see franchise success with Peaky Blinders as well as both the New and Classic Series of Doctor Who, the latter of which ranked as the second highest selling TV franchise of the year.

The UK audience’s continuing fascination with the Royal Family is evidenced by another year of strong sales for The Crown: Season 1 & 2 (Sony Pictures Home Entertainment) at number four in the TV chart, as well as The Crown franchise placing at number four in the TV franchise chart based on volume. This continued success of TV content launched and accessible via streaming and catch-up services signposts the considerable consumer appetite to own SVOD-driven series on physical formats, also demonstrated by the success of Good Omens (BBC Studios) which landed at number eleven in the TV chart.

Subscription services have undoubtedly changed the face of the home entertainment category and 2020 will see that change continue, with the UK launch of direct-to-consumer platforms like Disney+ presenting both challenge and opportunity for the video category. On the one hand, must-see content will be easier to access than ever before thanks to digital delivery across devices, but on the other hand many commentators also believe there is likely to be a ceiling to the number of subscription services consumers are willing to sign up for. What is clear from 2019 data is that ownership, whether digital or physical, remains the favoured route for many to the content they can’t afford to miss.

2020 Slate

Despite the successes of standout titles detailed above, the final six months of 2019 saw a significantly reduced slate, mirroring the smaller theatrical releases seen at the start of the year. Looking forward to 2020, however, an exceptionally strong slate is set to help redress the balance, with a host of releases set to delight audiences on disc and digital:

A raft of family films including Frozen 2 (The Walt Disney Company), Minions: The Rise of Gru (Universal Pictures Home Entertainment), Peter Rabbit 2: The Runaway (Sony Pictures Home Entertainment) and The Secret Garden (StudioCanal distributed by Elevation Sales) are set to entertain parents and children alike; the nation’s unwavering appetite for musical drama will be sated by Lionsgate’s Military Wives and Universal Pictures Home Entertainment’s Cats; superhero spinoffs and sequels are also aplenty, starting the year with Joker (Warner Bros. Home Entertainment), followed by Black Widow (The Walt Disney Company), Venom 2 (Sony Pictures Home Entertainment) and Wonder Woman 1984 (Warner Bros. Home Entertainment); and fan favourite franchises see long-awaited new instalments, with The Walt Disney Company’s Star Wars: The Rise of Skywalker, and the return of Bond in No Time to Die (Universal Pictures Home Entertainment).

Coming Soon in 2020



Liz Bales, Chief Executive, BASE said: “In a year that has seen consolidation between studios and independent distributors alike, the reality is that consumption habits are changing and are likely to continue to do so, with the debut of D2C services like Disney+, Peacock and HBO Max all likely to further catalyse that change. At the same time, it remains clear that ownership – whether on the best possible physical formats like Blu-ray and 4K UHD or, increasingly, digital ownership with its own set of flexible benefits like watching wherever on the go and instant access – remains of significant value to many of us. Collection, curation and gifting are clearly continued gateways to the transactional video sector, but so too is the fact that planning a night with friends or family has an emotional resonance that many of us remain wedded to. Opportunity often comes from change, as evidenced by the UK production boom, and so we look to 2020 with excitement and a wealth of content and delivery well equipped to meet evolving audience needs.”

Kevin Dersley, Co-Vice Chair, BASE / Managing Director, Elevation Sales said: “The UK’s creative industries make a significant contribution to both GDP and the broader employment landscape, something likely to be further enhanced by the success of emerging SVOD platforms and by the response to that from other quarters. All of this change endorses the buoyancy of film and TV content but as a category we must ensure we’re fleet of foot and part of the ongoing digital revolution mentioned earlier. We know that audiences find enormous value in our content and the first half of 2020, packed with diverse new IP as well as must-see franchise titles, should serve as the perfect reminder that in a market of consumers hungry for content, there’s plenty of room for those able to adapt.”

David Sidebottom, Principal Analyst, Entertainment, at Futuresource Consulting said: “Consumer appetite for paid-for digital video continued its impressive momentum in 2019. Both EST and iVOD grew once again, albeit at a lower rate than previously after an incredibly strong 2018 performance. SVOD goes from strength to strength, as the new wave of SVOD service heralds the next era of digital video, as we enter 2020.”


  1. Combined market value from © Official Charts Company, Futuresource Consulting and IHS Markit.
  2. © Official Charts Company data covering retail disc and EST film only, and includes boxset sales when applicable and released on same date.
  3. Futuresource Consulting
  4. Kantar Worldpanel, 52 w/e 17th Nov 2019
  5. MTM Consumer Journey Research (2018).


Official Video Charts 2019

Official Video Chart 2019

(All Digital Retail, Blu-ray and DVD / All Blu-ray & DVD)

1              BOHEMIAN RHAPSODY

2              AVENGERS – ENDGAME

3              TOY STORY 4


5              A STAR IS BORN



Official Video Chart 2019

(All Blu-ray & DVD)

1              BOHEMIAN RHAPSODY

2              AVENGERS – ENDGAME

3              A STAR IS BORN





Official DVD Chart 2019

1              BOHEMIAN RHAPSODY

2              A STAR IS BORN


4              AVENGERS – ENDGAME

5              TOY STORY 4



Official Blu-ray Chart 2019

1              AVENGERS – ENDGAME

2              BOHEMIAN RHAPSODY

3              CAPTAIN MARVEL


5              AQUAMAN



Official Film Download Chart 2019

1              BOHEMIAN RHAPSODY

2              AVENGERS – ENDGAME

3              TOY STORY 4

4              VENOM

5              ALADDIN



Official Film on Video Chart 2019

1              BOHEMIAN RHAPSODY

2              AVENGERS – ENDGAME

3              A STAR IS BORN





Official Children’s Video Chart 2019

1              TOY STORY 4



4              THE GRINCH

5              THE SECRET LIFE OF PETS 2



Official TV on Video Chart 2019


2              CHERNOBYL

3              THE CROWN – SEASON 1 & 2


5              DESCENDANTS 3



Official Music on Video Chart 2019

1              CATS

2              AS IT WAS

3              WESTERN STARS

4              MY WORLD

5              LOVE IN MAASTRICHT



Official Sports and Fitness Video Chart 2019

1              LIVERPOOL FC – SEASON REVIEW 2018/19

2              DAVINA – POWER BOX & TONE

3              FIT AS FERNE

4              THE EDGE




Official Special Interest Video Chart 2019







The British Association for Screen Entertainment (BASE) has today announced that entries to the BASE Awards 2020 are now open, with a refreshed list of awards categories reflective of the ever-evolving nature of the BASE membership and wider home entertainment category.

Marking the Awards’ 40th year and taking the stage at Camden’s iconic Roundhouse for the first time, the BASE Awards anniversary event will see esteemed colleagues from across the industry join together on the 4th June to celebrate the best and brightest across distribution, retail, creative and media over the past year.

Ensuring the BASE Awards remain fresh and relevant, some of last year’s categories have been refreshed to better reflect the eligible content, and encourage a broad range of submissions. Key changes include; renaming Supplier of the Year to External Team of the Year, to promote the integral part that external agencies and suppliers play in home entertainment campaigns, and reframing Campaign of the Year for Non-Theatrical to Campaign of the Year for Non-Traditional Release, widening the category to not only include Direct-to-Video titles, but also any feature released outside of a traditional theatrical window, including day and date, short windows or straight to subscription.

2020 also sees the introduction of two brand new Awards categories, allowing fuller acknowledgement of the industry’s work across original TV releases and the talent that makes it all possible.

Reflecting the huge range of original TV content currently seen in the category, the Campaign of the Year for Original Series award will shine a spotlight on TV shows in their first season. Additionally, we are excited to add an important new category; members are now able to nominate a Category Hero, recognising standout colleagues who have gone above and beyond in championing the category in their own way, whether from a retailer or platform, in-house distribution or at an agency or supplier.

Committed to driving a bold and authentic vision for environmental best practice in the home entertainment category, the 40th BASE Awards will be more sustainable than ever before, with a reduction of printed materials, a commitment to minimising waste, and, most significantly, a new online paperless entry submission process.

Entry forms are now available to download from here along with full updated guidelines on the new online entry process and parameters for each category. Submission templates have been streamlined to ensure the process for entering and judging is more straightforward. The judging criteria has also been clarified following feedback and consultation with members. Intention to enter forms must be submitted to BASE by close of play on Friday, 14th February and the deadline for the full submission is close of play on Friday, 28th February.

Entry fee per submission is charged at £145+VAT for member companies and £175+VAT for non-member companies, apart from the Category Hero award, for which there is no charge to submit your nomination.

Liz Bales, Chief Executive, British Association for Screen Entertainment, said“As the highlight of the industry calendar for the past 39 years, the BASE team and I are excited to invite you to submit your entries to the 2020 BASE Awards, and join us in celebrating the year’s achievements at our 40th Anniversary festivities. The exceptional work produced by our brilliant industry is thanks to the passion and dedication of the individuals who work within it, as well as the consistently stellar content, both of which we are excited to celebrate with our new awards categories. We hope you are all poised to send in your entries – we can’t wait to celebrate with you in style on the 4th of June.”

The Digital Entertainment Group Europe (DEGE) and the British Association for Screen Entertainment (BASE) has confirmed the return of Mega Movie Week, a category-wide campaign to drive consumer education and engagement with the growing digital transactional market. The organisation confirmed that the campaign will run for the week commencing January 20th, 2020.

 During Mega Movie Week BASE and DEGE members including BBC Studios, Lionsgate, NBCUniversal, Paramount Home Entertainment, Sony Pictures Home Entertainment, Spirit Entertainment, StudioCanal and The Walt Disney Company will be showcasing an educational message to underline the simplicity of digital transaction and the flexibility it offers consumers whether they’re planning a movie night with friends or wanting to watch the freshest content on the go.

Digital retailers supporting the initiative include Amazon Prime Video, the Apple TV app, BT TV Store, CHILI, the Google Play Store, Microsoft Store, PlayStation Store, Rakuten TV, Sky Store and Talk Talk TV, with a curated list of latest and greatest digital titles on offer during the week to encourage longer term engagement.

The activity will be supported with a multi-layered marketing campaign that will include out of home, print, broadcast and cinema advertising as well as programmatic and mobile video. The campaign will be optimised to reach new and lapsed digital customers, driving an overtly educational message to ensure that ease of use is the key takeaway for new customers.

The confirmation of the return of Mega Movie Week comes as BASE and its members also work towards a similar activation in physical media designed to re-engage lapsed customers with the entertainment aisle. Details of that campaign will be released in due course.

Liz Bales, Chief Executive at BASE, said: “Mega Movie Week in 2019 was a bold activation that delivered around 200,000 new or lapsed customers to the market, a material proportion of whom have continued to transact across the year. The next iteration of the campaign will benefit from a host of learnings and will see the 2020 activity framed by overt educational messaging designed to highlight the simplicity and convenience of digital transaction. Mega Movie Week 2020 is also being positioned as part of a cohesive strategy for the 12 months ahead and we look forward to sharing further detail on that strategy shortly.”

Kevin Dersley, Co-Vice Chair at BASE and Managing Director of Elevation Sales, added: “As we move into a new decade, BASE continues its focus on driving ownership across the category. It’s great to see the plans to drive digital transaction in 2020 – kick-started with the return of Mega Movie Week in January –supporting long-term strategic goals and aligning with the continued focus on physical media as evidenced through Project 2020 and on-going development of catalogue marketing activity. The bold ambitions across both digital and physical strategy demonstrate that BASE is committed to bringing best in class collaboration across content providers to deliver a suite of engaging and meaningful activities for consumers at a time when they face an ever-growing array of choice as to how they consume home entertainment content.”

For more information on the campaign and wider BASE activity, please contact [email protected].