Value Chain Definition on the Broadcasting in Brazil.

The broadcasting industry in Brazil encompasses the creation, transmission, and reception of audio and video content delivered through various platforms, primarily free-to-air TV and radio, as well as increasingly through digital means. The value chain involves a series of interconnected steps, from the initial conceptualization and production of programming to its delivery to the end consumer and the subsequent monetization of this reach. This chain is influenced by technological advancements, regulatory frameworks, and market dynamics.

Value Chain outline

The value chain of the broadcasting industry in Brazil can be broken down into the following comprehensive steps:

• Content Production: This involves the creation and development of programming for both television and radio, covering a wide range of genres.
• Identification and description of segments for each step of the value chain.
  • Scripting and Conceptualization: Defining the program format, writing scripts, and developing concepts.
  • Filming/Recording: The actual process of capturing video and audio content.
  • Post-Production: Editing, sound mixing, adding graphics, and preparing the final program.
• List of types of players in each segment
  • Production Companies (In-house and Independent)
  • Scriptwriters and Authors
  • Directors and Producers
  • Technical Crews (Camera operators, sound engineers, editors, etc.)
  • Talent (Actors, presenters, journalists, musicians)
• Detailed description of the main activities within each segment.
  • Scripting and Conceptualization: Market research, creative brainstorming, scriptwriting, securing intellectual property rights.
  • Filming/Recording: Studio recording, on-location shooting, audio recording, managing technical equipment and personnel.
  • Post-Production: Video and audio editing, color correction, visual effects, sound design, mastering, quality control.

• List examples of key players with detailed profiles.

  • Globo: A major Brazilian media group with extensive in-house content production capabilities, known for telenovelas, news programs, and variety shows. Globo produces approximately 90% of its prime time programming and about 80% of its total programming. [6] It also has pay-TV programming operations, producing and licensing content for over 20 channels. [13]
  • Record TV: Another significant Brazilian television network with its own production facilities, creating a diverse range of content including news, dramas, and religious programming.
  • SBT: A prominent Brazilian television network producing entertainment shows, telenovelas, and news.
  • Independent Production Companies: Numerous smaller companies specialize in specific genres or provide production services for broadcasters and streaming platforms. Ancine data shows a significant number of registered economic agents in the audiovisual sector. [3] EBC (Empresa Brasil de Comunicação) also opens calls for public funding for content production for TV Brasil, indicating a role for independent producers in public broadcasting. [12, 22]

• Transmission and Distribution: This step involves the technical process of sending the produced content to the audience through various means.

• Identification and description of segments for each step of the value chain.
  • Broadcast Transmission (Terrestrial): Sending signals over the airwaves for free reception by antennas.
  • Satellite Distribution (DTH): Transmitting signals via satellite to subscribers with satellite dishes.
  • Cable Distribution: Delivering signals through coaxial or fiber optic cables to subscribers.
  • IP Distribution (Streaming): Delivering content over the internet.
• List of types of players in each segment
  • Broadcasting Networks (owning transmission towers and infrastructure)
  • Satellite Operators
  • Cable TV Operators
  • Internet Service Providers (ISPs)
  • Streaming Platforms (OTTs)
  • Infrastructure Providers (towers, satellites, fiber optic networks)
• Detailed description of the main activities within each segment.
  • Broadcast Transmission: Operating and maintaining transmission towers, managing frequencies, ensuring signal quality and coverage. The Brazilian Digital Terrestrial TV System (SBTVD) is based on the Japanese ISDB-T standard. [4, 31]
  • Satellite Distribution: Uplinking content to satellites, managing satellite capacity, providing set-top boxes to subscribers. DTH services in Brazil include players like Claro TV, Sky, and Vivo TV. [18]
  • Cable Distribution: Maintaining cable networks, managing bandwidth, providing set-top boxes and internet services.
  • IP Distribution: Operating streaming platforms, managing content delivery networks (CDNs), ensuring smooth playback across various devices.

• List examples of key players with detailed profiles.

  • Globo: Operates a vast network of owned and affiliated TV stations for terrestrial broadcasting across Brazil. [6] They also have a significant digital presence with Globoplay. [6, 13]
  • SBT: Operates its own network of TV stations for terrestrial broadcasting.
  • Record TV: Operates its own network of TV stations for terrestrial broadcasting.
  • Band: Another major free-to-air TV network with its own transmission infrastructure.
  • Claro, Vivo, Oi: Major telecommunications companies that offer satellite and cable TV services (though DTH new licenses are not being granted, existing players continue to operate). [18]
  • YouTube, Netflix, Amazon Prime Video, Globoplay, Disney+, Max: Key players in the streaming segment, distributing content over the internet. [20, 38] YouTube is the leader in audience share within online video consumption in Brazil. [20, 38]

• Reception and Consumption: This is the final step where the audience accesses and consumes the broadcast content.

• Identification and description of segments for each step of the value chain.
  • Free-to-Air TV Reception: Watching terrestrial broadcast TV using antennas.
  • Paid TV Reception: Watching content through satellite or cable TV subscriptions.
  • Streaming Consumption: Watching content via internet-connected devices through streaming platforms.
• List of types of players in each segment
  • Consumers
  • Device Manufacturers (TVs, radios, smartphones, set-top boxes)
  • Audience Measurement Companies
• Detailed description of the main activities within each segment.
  • Free-to-Air TV Reception: Using antennas and digital converters (if needed) to receive broadcast signals. 97.2% of Brazilian households had a TV in 2011. [26]
  • Paid TV Reception: Subscribing to cable or satellite TV services and using provided equipment to access channels.
  • Streaming Consumption: Accessing content through apps and websites on various devices (smartphones, smart TVs, computers). In December 2024, online video consumption accounted for 20.1% of TV audience in Brazil. [20, 38]

• List examples of key players with detailed profiles.

  • Brazilian Population: The primary consumers of broadcasting content.
  • Manufacturers of electronic devices: Companies producing televisions, radios, smartphones, tablets, and set-top boxes that enable content reception.
  • Kantar Ibope Media: A key player in measuring audience size and behavior across different platforms in Brazil. [20, 39, 42, 49]

• Regulation: Government bodies and agencies responsible for setting rules and guidelines for the broadcasting industry.

• Identification and description of segments for each step of the value chain.
  • Licensing and Authorization: Granting licenses for TV and radio stations.
  • Frequency Management: Allocating and managing the use of radio frequencies.
  • Content Regulation: Establishing rules regarding programming content, advertising, and quotas for national/regional content.
  • Market Regulation: Ensuring fair competition and consumer protection.
• List of types of players in each segment
  • Government Ministries
  • Regulatory Agencies (ANATEL, ANCINE)
  • Legislative Bodies (Congress)
• Detailed description of the main activities within each segment.
  • Licensing and Authorization: Processing applications for broadcast licenses, renewing licenses, overseeing the transfer of ownership.
  • Frequency Management: Developing frequency plans, resolving interference issues, managing the digital transition.
  • Content Regulation: Defining guidelines for news coverage, age ratings for programs, limitations on advertising during children's programming, enforcing content quotas for national and regional productions. [19, 35]
  • Market Regulation: Monitoring market concentration, investigating anti-competitive practices, protecting consumer rights in pay-TV services. The OECD recommended a simplified single licensing regime for communication and broadcasting services and the removal of restrictions on vertical integration and cross-ownership. [2]

• List examples of key players with detailed profiles.

  • ANATEL (Agência Nacional de Telecomunicações): The main regulatory body for telecommunications and broadcasting in Brazil, responsible for licensing, frequency management, and technical standards. [2, 31]
  • ANCINE (Agência Nacional do Cinema): The National Cinema Agency, responsible for regulating and fostering the Brazilian audiovisual market, including aspects of content production and distribution, especially regarding national content quotas and funding. [3, 5, 7, 11, 12, 17, 21, 22]
  • Ministry of Communications: Involved in setting public policies and guidelines for the sector. [12]
  • National Congress: Responsible for approving legislation related to broadcasting.

• Monetization: The process by which revenues are generated within the broadcasting industry.

• Identification and description of segments for each step of the value chain.
  • Advertising: Selling advertising time or space on TV, radio, and streaming platforms.
  • Subscription Fees: Charging consumers for access to pay-TV channels or streaming services.
  • Content Licensing and Sales: Selling or licensing produced content to other broadcasters, platforms, or international markets.
  • Public Funding: Government
• List of types of players in each segment
  • Broadcasters
  • Pay-TV Operators
  • Streaming Platforms
  • Advertisers
  • Advertising Agencies
  • Government Bodies (providing public funding)
• Detailed description of the main activities within each segment.
  • Advertising: Developing advertising strategies, selling ad inventory, creating and airing commercials, measuring advertising effectiveness. Advertising is a significant revenue source for the industry. [24, 27, 32] TV Globo leads in advertising investment from streaming platforms promoting their services. [38]
  • Subscription Fees: Managing subscriber relationships, billing, offering different service packages.
  • Content Licensing and Sales: Negotiating deals for distributing content to other platforms or territories, participating in international content markets. Globo is a major exporter of telenovelas. [28]
  • Public Funding: Allocating government resources to support content production and broadcasting infrastructure, particularly for public service broadcasting and independent productions. ANCINE provides funding for Brazilian audiovisual productions. [1, 12, 22]
• List examples of key players with detailed profiles.
  • Globo, Record TV, SBT, Band: Major broadcasters heavily reliant on advertising revenue.
  • Claro, Vivo, Sky: Major players in the pay-TV subscription market.
  • Netflix, Amazon Prime Video, Globoplay: Players utilizing subscription and/or advertising-supported streaming models. [6, 13, 20]
  • Advertising Agencies: Companies that create and place advertisements on behalf of clients.
  • ANCINE and EBC: Involved in allocating public funds for audiovisual content. [1, 12, 22]

Value Chain Summary Table

Value Chain Step	Segments	Types of Players	Main Activities	Examples of Key Players
Content Production	Scripting & Conceptualization, Filming/Recording, Post-Production	Production Companies (In-house & Independent), Scriptwriters, Directors, Technical Crews, Talent	Market research, Creative development, Scriptwriting, Filming, Recording, Editing, Sound mixing, Graphics, Mastering, Quality control	Globo, Record TV, SBT, Independent Production Companies, EBC
Transmission & Distribution	Broadcast Transmission (Terrestrial), Satellite (DTH), Cable, IP (Streaming)	Broadcasting Networks, Satellite Operators, Cable TV Operators, ISPs, Streaming Platforms, Infrastructure Providers	Operating transmitters, Managing frequencies, Uplinking, Network maintenance, Bandwidth management, Platform operation, Content delivery networks	Globo, SBT, Record TV, Band, Claro, Vivo, Sky, YouTube, Netflix, Amazon Prime Video, Globoplay
Reception & Consumption	Free-to-Air TV Reception, Paid TV Reception, Streaming Consumption	Consumers, Device Manufacturers, Audience Measurement Companies	Receiving broadcast signals, Subscribing to services, Accessing content on devices	Brazilian Population, Samsung, LG, Sony, Kantar Ibope Media
Regulation	Licensing & Authorization, Frequency Management, Content Regulation, Market Regulation	Government Ministries, Regulatory Agencies (ANATEL, ANCINE), Legislative Bodies	Granting licenses, Managing frequencies, Setting content rules, Ensuring competition, Consumer protection	ANATEL, ANCINE, Ministry of Communications, National Congress
Monetization	Advertising, Subscription Fees, Content Licensing & Sales, Public Funding	Broadcasters, Pay-TV Operators, Streaming Platforms, Advertisers, Advertising Agencies, Government Bodies	Selling ad space/time, Managing subscriptions, Licensing content, Securing public funds	Globo, Record TV, SBT, Band, Claro, Vivo, Sky, Netflix, Amazon Prime Video, Globoplay, Advertisers, Advertising Agencies, ANCINE, EBC

Examples of Main Players

• Globo: The largest media group in Brazil, with a dominant position in free-to-air television and a significant presence in pay TV and streaming. [14, 28] Globo operates a vast network of owned and affiliated stations and is a major producer of diverse content, particularly telenovelas which are also exported internationally. [6, 13, 28] Globo has been strategically investing in digital expansion, with its streaming platform Globoplay showing significant subscriber growth and international recognition for its original productions. [14] In 2024, Globo reported a significant net profit of R$ 1.99 billion, marking a substantial increase from the previous year, partly attributed to strategic acquisitions and digital growth. [14]
• Record TV: A major commercial television network in Brazil, competing with Globo and SBT. Record TV produces a variety of programming, including news, dramas, and religious content, and has a significant nationwide reach through its network of stations. The network has maintained a stable audience share in recent years, securing the second position in audience in 2024 according to Kantar Ibope data, demonstrating resilience in a changing market. [49]
• SBT (Sistema Brasileiro de Televisão): Another key player in the Brazilian free-to-air TV market, founded by Silvio Santos. SBT is known for its entertainment shows, variety programs, and telenovelas, often targeting a family audience. However, SBT experienced a decrease in audience share in 2024, particularly in certain time slots, indicating challenges in maintaining its historical audience levels amidst increased competition. [42, 49]
• ANATEL (Agência Nacional de Telecomunicações): The National Telecommunications Agency is the primary regulatory body for telecommunications and broadcasting in Brazil. ANATEL is responsible for crucial aspects such as granting licenses for broadcast services, managing the allocation and use of radio frequencies, and overseeing the technical standards for transmission, including the ongoing transition to digital TV (SBTVD) and the future implementation of TV 3.0. [2, 31, 37]
• ANCINE (Agência Nacional do Cinema): The National Cinema Agency plays a vital role in regulating and fostering the Brazilian audiovisual market. ANCINE is particularly important for supporting and regulating content production, including enforcing quotas for national and regional content across different platforms and managing public funding programs like PRODAV to incentivize Brazilian productions. The agency also monitors the market performance of various segments, including the burgeoning video-on-demand sector. [1, 3, 7, 12, 22]

Volumes and Sizes

The Brazilian audiovisual market, which encompasses broadcasting, is a significant sector of the economy. In 2021, the national audiovisual sector generated a total revenue of R$ 56.937 billion. [1] According to data from 2019, the direct economic impact of the audiovisual sector on the Brazilian economy was R$ 24.5 billion, with the total impact, including indirect and induced effects, reaching R$ 56 billion on the GDP. [16] The sector is also a notable source of employment, estimated to have generated 657 thousand direct, indirect, and induced jobs in 2019, with 126.6 thousand being direct jobs. [1, 16]

In terms of audience and market share:

• Television: Free-to-air TV remains the dominant platform for television consumption in Brazil, particularly in many regions across the country due to its wide reach. [37] In December 2024, free-to-air TV accounted for 71.1% of the total TV audience in the 15 main metropolitan regions. [38] While pay TV has seen a decline in subscriber numbers in recent years, it still holds a notable share of the television market and contributes to advertising revenue. [11, 24, 27] In the first quarter of 2024, pay TV represented 4.9% of the total advertising investment tracked by Cenp-Meios. [24] A different report for January to September 2024 indicated that Pay TV accounted for R$ 928 million in advertising, holding a 12.1% share within the television category. [27] Audience measurement by Kantar Ibope Media in 2025 indicates that one audience point across the 15 measured markets represents 270,631 households and 692,281 individuals. [39] In the specific market of Grande São Paulo, a key region for advertising, one audience point in 2025 corresponds to 77,488 households and 199,313 individuals. [39]
• Radio: Although the way people listen to radio is evolving with the increased use of digital platforms, traditional radio broadcasting continues to be relevant. In the first quarter of 2024, radio held a 3.6% share of the total advertising investment. [24] From January to June 2024, the advertising volume for radio was R$ 416.863 million, maintaining a 3.9% share of the total advertising investment according to another report. [32]
• Streaming (Video on Demand): The streaming segment has experienced significant growth and is increasingly capturing audience share. In December 2024, online video consumption reached 20.1% of the total TV audience in Brazil, demonstrating the shift in viewing habits. [20, 38] Within the online video segment, YouTube holds the largest audience share with 12.6%, followed by major international and local players like Netflix (4.6%) and Globoplay (1.1%). [38] Streaming platforms are also becoming important avenues for advertising. [20, 38] Data from 2024 shows substantial advertising investments by streaming platforms like Globoplay (around R$ 1 billion), Disney+ (R$ 322 million), and Max (R$ 274 million) to promote their services, often utilizing traditional TV for their campaigns. [38]

Looking at the audience share among major free-to-air TV networks in Grande São Paulo for 2024, Globo led with an average daily audience of 13 points. Following Globo was streaming with 9.9 points, then Record with 5.1 points, and SBT with 3.4 points. [42] Record TV managed to maintain its audience stability in 2024, securing the second position among TV networks, while Globo experienced a slight decrease and SBT saw a more significant drop in audience. [49]

The transition to digital broadcasting (SBTVD) has reached a significant portion of the population, and the upcoming implementation of TV 3.0, based on the ATSC 3.0 standard, is set to further modernize the transmission infrastructure. [15, 31, 37]

Current bottlenecks and challenges facing the Brazilian broadcasting industry include the need to adapt business models to the growing digital consumption and competition from global streaming platforms, the ongoing challenge of monetizing content effectively across various platforms, the need for continued investment in technology and infrastructure, particularly for the transition to advanced digital standards, navigating the complexities of content regulation and ensuring compliance with quotas for national and regional productions, combating content piracy, and addressing the historical issue of media ownership concentration. [2, 11, 26, 29, 37, 40] Ensuring equitable access to broadcasting services across the vast geography of Brazil also remains a key consideration. [37]

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